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About Google Book Search Google's mission is to organize the world's information and to make it universally accessible and useful. Google Book Search helps readers discover the world's books while helping authors and publishers reach new audiences. You can search through the full text of this book on the web at |http: //books .google .com/I ARCHAEOLOGICAL SURVEY OF EGYPT Edited by F. LL. GRIFFITH TWELFTH MEMOIR THE BOCK TOMBS DE IE EL GE BB AWI PAKT II.-TOMB OP ZATI AND TOMBS OP THE NOETHEBN GROUP N. 1>E G, DAV1E8 Will, An«:Mli,y, 1,11 W. E. CliUM ANi. G. A. BOUl.ENC.EI! TWENTY-NINE PLATES AND FRONTISPIECE SPECIiL eUBLKJATIOS OF TUK EOYPT EXPLORATIOS FUNV LOSDON eOLu AT ,e oraCES OK THE EGYPT EXPLOKATION FUND, 37, Qmat R»«ii.i. S.M.t, W.C. ANU H, HnilUN STllEKT. BosTUS, MaSS., U.S.A. ., KKGAN PAUL, TRENCH, TEUBNKR 4 00„ P.n.soei.. Ho.,,. Cii...»i. Co.. Bo.o. W.U, U. yUAIUTOH, li. Precouxr. W.; ABHBK & Co., 13. B.p-oxo St.»>. Co,.,, U.K.... W.C. ASD HKNRY rBOWDE, AIUS CoRKEB, K.C. SW Napkin's Xibtaxp ptesmitdbt tilt ivlsmd ^tottloTd Stxxnax ^moetsi^ i « * II. i1 / r } Frontispiece. PEPY-ANKH-NES, WIFE OF ZAU lK«e Plate VI.). ARCHAEOLOGICAL SURVEY OF EGYPT Edited by F. Ll. GRIFFITH TWELFTH MEMOIR THE EOGK TOMBS OF D E I R EL GE B R AWI PAET II.-TOMB OF ZAU AND TOMBS OF THE NOBTHEEN GBOUP BY N. DE G. DAVIES With Appendiceis hi/ W. E. CUUM AND G. A. BOULENGElt • • • • ••• ••' • • • «• • • • I • » • • • • ;•. •••••• • ., .... i • • •• • •••• :,• •.. ••••••.•• • • ;•?•••••• • • • • • ••••■•• •" • • •••-!••• • • • • V TWENTY-NINE PLATES AND FRONTISPIECE SPECIAL PUBLICATION OF THE EGYPT EXPLORATION FUND LONDON SOLD AT The offices OF THE EGYPT EXPLORATION FUND, 37, Grbat Russell Street, W.C. AND 8, Beacon Steeet, Boston, Mass., U.S.A. AND BY KEGAN PAUL, TRENCH, TRUBNBR & CO., Paternoster House, Chaeing Cross Road, W.C. B. QCARITCH, 15, Piccadilly, W. ; ASHER & Co., 13. Bedford Street. Covent, Garden, W.C. AND HENRY PROWDE, Amen Corner, E.C. 1902 • ••• • • • • •• • • ••• • • • • • • • ••• • • •• • •• • • • • • • • • I • • • • •• • • • • • • ••• •-• : ••• • •• • ••. • •*• • • • • • • • • •• • • LOXDO.V : PRrNTKD BY fllLBERT AND RIV.NGTON, I,TD ST. JOHN'S H0C8K, CLKRKKNWELI,. • • • • • • • • • • • • • :•. •• • • • • •• • • • •• ««• • • • • •• • • • • • • • . ;• . • • EGYPT EXPLORATION FUND. SIR JOHN EVANS, K.C.B., D.C.L., LL.D., F.R.S., V.P.S.A. IDice^preeidente. Sir E. Maunde-Thompson, K.C.B., D.C.L., LL.D. General Lord Grenfell, G.C.B.,G.C.M.G. The Rev. Prof. A. H. Sayce, M.A,, LL.D. The Hon. Chas. L. Hutchinson (U.S.A.). Prof. G. Mabpero, D.C.L. (France). Prof. Ad. Erman, Ph.D. (Germany). JosiAH Mullens, Esq. (Australia). M. Charles Hentsch (Switzerland). 1)011. ^reaeurere. H. A. Grueher, Esq., F.S.A. F. C. Foster, Esq. (Boston, U.S.A.). Ibon. Secretari?. J. S. Cotton, Esq., M.A. Aembere T. H. Baylis, Esq., M.A., K.C., V.D. Miss M. Brodrick, Ph.D. (for Boston). Major E. B. Cassatt, B.A. SoMERs Clarke, Esq., F.S.A. W. E. Crum, Esq., M.A. Louis Dyer, Esq., M.A. (for Chicago). Arthur John Evans, Esq., M.A., F.R.S. F. Ll. Griffith, Esq., M.A., F.S.A. T. Farmer Hall, Esq. F. G. Kenyon, Esq., M.A., Litt.D. Mrs. McClure. The Rev. W. MacGreoor, M.A. A. S. Murray, Esq., LL.D., F.S.A. ot Committee. The Marquess of Northampton. Francis Wm. Percival, Esq., M.A., F.S.A. F. G. Hilton Price, Esq., Dir.S.A. Mrs. Cornelius Stevenson, Sc.D. (for Philadelphia). Herbert Thompson, Esq. Mrs. Tirard. The Rev. H. G. Tomkins, M.A. Emanuel M. Underdown, Esq., K.C. E. Towry Whyte, Esq., F.S.A. Major-General Sir Charles W. Wilson, K.C.B., K.C.M.G., F.R.S. \ *V \ ^ V bTST CONTENTS List of tiik Plates PAGE Vll I. — The Tomb of Zau 1 II. — ^The Tombs of the Noktiiern Group. 1. The site . ... 2. List of the tombs 8. Tomb 72 (Raheiicm-Asa) 4. Tomb 67 (Henqii) 5. Tomb ;39 (Henqu-Kheteta) . 6. Tomb 46 (Asa) .... 7. Tomb 38 (Nebab) 8. Tomb 95 .... . III. — Fact and Conjecture. 1 . Zau, father and son 2. The age of the ^forthern Necropolis 3. The Divinities of the Nome Appendices. 1. The Coptic texts. By W. E. Cuum 2. The fislies. By G. A. Boulkngeu Index U 14 19 27 31 33 33 34 35 43 45 47 4y List oe Coptic Pbopek Names 51 LIST OF THE PLATES WITH REFERENCES TO THE PAGES ON WHICH THEY ABE DESCRIBED. ♦♦ PLATE PAGE Frontispiece. Pepy-ankhnes, wife of Zau (coloured) I. Sketch plans and elevations of the Northei'n tombs II. Tomb of Zau. Plan and section . III. IV. V. VI. VII. VIII. IX. X. XL XII. XIII. XIV. XV. ^1 '1 9^ V 19 91 >? J? 1« »? 9^ s» 9' S. wall, W. side '9 V ?? (completion) . E. side W. wall, right half ?? left half . E. wall . N. wall, W. side . ?? E. side Shrine, W. wall ?? N. waU J» E. wall Funeral barge (coloured) etc. Fragments and details XVr. Tombs 72 (Asa), 59, and 60. Plans, etc. XVII. Tomb of Asa. N . wall, W. of doorway . XVIII. „ „ E. of doorway . XIX. XX. 1* ?1 11 ?1 jy (completion) E. wall . XXI. Various tombs. Fragmentary inscriptions XXIL Tombs 67 (Henqu), 3, and 68. Plans, etc. . • • 7 ■ • 14-19 3,4 4 4, 5, 47 5, 6, 47 1,6,7 7-9 11, 12 1. 3, 9, 10 10, 11 12 12, 13 2, 13 8 5, •», 27 , 32, 47 17, 20, 21, 22, 27 . 22, 23 23 23-25 . 25, 26 3, 18, 20, 21, 23, 34 15, 18, 28 vni LIST OF THK PLATES. PLATE XXIII. Tomb of Henqu. XXIV. XXV. XXVI. N. wall . . . . Biographical inscription . •4 ?• Inscriptions and wall-plans XXVII. Tombs 39 (Kheteta) and 95. Plans, etc. . XXVIII. Tomb of Kheteta. Inscriptions and wall-plans XXIX. Coptic graffiti ...... PAGE 28, 29 30 30 28, 29, :J0 . 31, 34 32, 33 45, 4G Plates II., XVI., XXII., XXVII., are based on plans made in 1893 by Mr. fJ. Newbeny. THE KOCK TOMBS OP DEIB EL GEBEAWI. PART II. I -TOMB OF 2:)|^ ZAU, SUBNAMED ^J^^^ SHMAA. Titles of Zau (commencing with those Plates VI. and IX. in order) : — 1. D ^ Hereditary Prince. 2. ^^^ 5a -prince. on M ^•* liT^ Staff of Hapi. 4.* D o 5.*t } j^ ^ Director of the net ((] J t=^) ' of Horus. 6.* 8^ CED He who belongs to Nekhen. 7.* \J% Great Chief of Nekheb. ^ Royal Chancellor. ^ ^ Great Chief of the Nome of This. 10. *S> He of the Great Residence. 11. ^3^ Superintendent of the South. 12. I n Governor of the Residence. 8. 9. 1 Dakessy, Le Mastaha de Mera^ pp. 550, 554. * Titles not assigned to his son. t Titles not assigned to Aba. 13. It ^^ Sole Companion . 14. Jfl\J[|] [Chief] Lector. l^-*(5y]ZfA1fPt Chi,f Priest of the Men-ankh pyramid of King Neferkara.* '«• Qu) = fAkmf Secoudprie.t of the same. "•*+ Sy]l™f A#^ Keeper of the garden of the same. 18. ^^^ Great Chief of the Du-ef Nome. 19.* ^ ^^^ Superintendent of the two Granaries. 20.* ^'-f'^ Superintendent of the' two Treasuries. 21. ^ ^g Superintendent of the two Fowl- ing Pools. 3 On Plates v. and xii. an honorific determinative is added to the name of the pyramid. This determinative symbolizes the offering of products at the royal tomb by the Nile god, or perhaps by the land of Egypt. — [Ed.] B TOMB OF ZAU. 22.*t /"^ (^ (^ Wab^priest of (Plate X.) 23. ^ V " 1 n rj__j-| Superinten- dent of the distribution of divine offer- ings from the two Houses. (Plate x.) 24. [1 ^^ Seiu'priest (Plate xii.) y ^^T Master of every kind of tunic. 25. (Plate xii.) who is over the secrets of sole audience. (Plate xxi.) ^^'^ ^ ^ T [3^] ^^ "^^^ ^^ ^* *^® S^*^ of the southern pass. (Plate xxi.) Sons. (Plate IX.) (1) Zau. "Eldest." Titles (commencing with those on Plate XIII.) :— 1. "-^ Ha'prince. 2. Ill Great Chief of the Nome of This. 3. J/nJI Chief Lector. 4. 1 1 vv ^SWi-priest. 5. fl ^^ Master of every kind of timic. 6.§ 5 ijnD^ Director of the black vase (Aakemt?). 7. f i ^ Great Chief of the Du-cf Nome. 8. n T Sole Companion. J). 1§ y I ^ Chief of the Pillared Hall. 10.§ ft ^^^^1 He who has power over gods(?). ii.§} ^^^ S/ Director of the depots of the Crown of Lower Egypt. 1 The Rope (iod(P). Cf. Dakkshy, Le Maniaha th' Mora, p. .562. (Ed.) - For titles 26 ami 27 see tlif titulary of tlie son, Plato \. ^ Cf. El lU'rslieh, 11. p. 83; lirm' Ha^an, 1. vii. § Titles not jissigned to his father. 1 2. § vf:^ I Gate of Khonsu (?) . 13.§ o D Khu-a (?) U.§ j I Ruler of . 15.§=j 16.§ f T Scribe of the Roll of the God. 1 Director of every Divine Office. 17.§ Jg Director of the two Thrones. 18. -s^ 3^ Superintendent of the South. 19. «&• He of the Great Residence. ^ Royal Chancellor. I n Governor of the Residence. 20. 21. 22. /vs/v^A^ p >jO\ 9*^ -Dm r ^J^- I He who is over the secrets of sole audience.* (Plate X.) ^^^"^ ^ He who is at the ffate of the southern pass.^ (Plate x.) ♦ This title is also found in AIaspero, Trois Anneea de Fouilles^ pp. 196, 198, 202, but with a different grammatical construction ( * 1 ^ >^. /www 1 ^ ^v £± " he who is over the secrets of that which one man hears"). A similar designation, with the substitution of *' seeing" for *' hearing" is found in both grammatical forms in Daresst, Le Mastaba de Mera, p. 369, El Bershehf i. p. 13. The title might be connected with religious mysteries or with special judicial functions, as in the case of Una under Pepy I. But passages like El Bersheh^ ii. pp. 24, 41, suggest that it may also denote a privil^e of admission to the private ear and apartments of the king. As an eastern monarch risks his confidences in public or private affairs as little as possible, his boon companion and his minister of state are often the same person. ^ The connection of the titles 22 and 23 may only be that confidential relation to the king which both imply, and which is claimed with marked frequency by officials of the South, who had the responsibility of watching over the frontier most open, at this time, to danger of invasion. A designation sunilar to 2lj is often found by itself, though never in this exact form, and suggests a military warden- ship of the desert i*outes into Nubia. It is especially frequent at Aswan, as might be expected ; elsewhere it is chiefly found on the east bank. The superintendency of the South seems to have included political, fiscal, and military DESCRIPTION OF THE TOMB. 24. priest of the Men-anhh pyramid of King Neferkara. (Plate v.) (2) (j J (j Aba. (Plate ix.) " Governor of the Residence." " Sole Companion." (3) Ijjlj Aba. (Plate ix.) " Governor of the Residence.'* (4) JJ(j Beba.^ (Plate ix.) " (Official) of the Great House, Senisu hayV' (?). (5) ljc:=3^ Ada. (Plate ix.) " Governor of the Residence." (6) (Name lost.) Wife. (^"°1T1 ■?■ 'T^ Pepy-ankhnes. (Plates vi., ix.) '' Sole Royal Ornament." Daughter, (p D \\\\ \ ^ ^ Pepy - ankhnes. (Plate ix.) " Royal Ornament." Wife {ofZau, the son?). ^^"^^^ Hentnes. (Plate xii.) " Sole Royal Ornament." The tomb of Zau is situated in the southern group, a little distance to the west of that of his father Aba, in the same cliff (Part I., Plate i.). Its external aspect is of the simplest sort, the rock being merely trimmed to a smooth activities ; and if the two titles here are to be taken in conjunction, we must think of the head of the secret service or intelligence department of the district (De Morgan, Cat. d. Monuments, i. pp. 172, 198). Occurrences of the title or of similar expressions will be found in the work just quoted, p. 155 ; Maspero, Guide de Boulaq, p. 34 ; Brugsch, Diet Geog,, p. 1288, and L. D, ii. 114, 149e. Cf. also El Bershehy i. 16 ; Bern Hamn, ii. 58. 1 Beba stands amongst tlie sons, but is not so termed. See p. 10. For his title compare Part I., Plates iii., xi., XV., xviii. and almost vertical face, which extends a little above the doorway, and for some nine feet on either side. There have been figures and inscriptions in the thickness of the wall on both sides of the entrance; but they are greatly mutilated. A standing figure of the deceased was cut on each side in sunk relief (relief en creux). He wears the short wig, collar, and pointed tunic. On the W. side he is figured with upraised arms : on the E. side he carries staff and khety-sceiptTe. The in- scriptions are roughly incised (Plate xxi.). From the first line on the W. side (probably as on Plate x.) we may gather that the figure below is that of the son. The interesting name of the seat of worship of Mati will be considered in connection with other examples (p. 43). The inscription on the E. side was certainly for the father, as the surname Shmaa shows ; from the fragmentary signs in the second line we may gather that the combined which are given to his son on Plate x., belonged to the father also. The doorway has a rebate within, which the paintings show to be original. The interior of the tomb consists of a single chamber with a shrine-recess at the back. The rough-hewn walls have been covered with a coating of plaster, which concealed all irregulari- ties, and ofifered a smooth surface for painting on. In construction the tomb differs from that of Aba in the absence of pillars, and in the provision made for burial ; the chief burial- place here being set at the bottom of a deep shaft on the N. side of the chamber, instead of at the end of a sloping gallery. This shaft has been emptied within the last few years ; pre- sumably the chamber was then reached, but it is not now visible. The debris from this well is now piled in the middle of the tomb, so that no statement can be made as to the existence of other shafts there. Another place of burial is TOMB OF ZAU. provided near the W. wall : it is of some depth, and I did not consider it worth clearing again. A mastaba of rock has been left against the W. wall of the shrine, under the false door. As this would be the natural place of offering, such a ledge would be a very convenient substitute for the stone tables which are sometimes set in Old Kingdom mastabas for this purpose. Fragments of a plaster pavement, coloured red, are preserved here and there ; but they may belong to a later occupation of the tomb. The paintings are probably by another hand than that which decorated the neighbouring tomb, though the latter has been taken as a general model. The drawing is larger and coarser, and the scenes are less full of incident and less amply annotated. Yet, in the midst of formal schemes, there are designs which are fresh in both subject and treatment, and the inscriptions, if scanty, bear all the marks of originality. The effect of the decoration is incomparably more pleasing in this tomb than in the other; for the artist, escaping perhaps from traditional rules, chose a light buff as a ground-colour instead of the sombre indigo of his predecessor, and by so doing has rendered the copyist's task much more easy and sure. A breach from the adjoining tomb in the S.E. comer, and the deliberate removal of a great slice of rock from the W. side of the N. wall, have caused some loss ; but it happens to be less regrettable than that due to a natural fault which runs diagonally across the chamber and has destroyed a large portion of the interesting representation of trades on the N. wall (Plate x.). South Wall. West Half. (Plates iii. and iv.) Fowling in the marsh-lands is the main subject on this side of the doorway, but the scenes are not entirely confined to this. The right-hand side of the picture has suffered greatly owing to the natural fault just mentioned, but the scene which has been injured is so familiar as to greatly discount the loss. Zau stands erect on the wooden deck of his papyrus-built canoe, holding in his left hand two birds which he has captured, and wielding in his right the throw-stick Avhich he is about to fling into the cloud of birds that rise out of the field of papyrus before him. The latter is treated quite conventionally ; fertility of in- vention was not a mark of the Egyptian artist. A master-hand had set the style, it may have been centuries previously, and the painter of the day, never dreaming of altering or omitting the accessories of this scene, faithfully added the big nest balanced on the bending stem, the helpless nestling dragged from the rest of the brood by the racial foe, despite the brave defence made by the mother bird, and the butterflies flitting carelessly above. We will give the artist credit for feeling the incident afresh, at any rate. The titles of Zau are recorded overhead, and in front is the descrip- tion of the scene : *' The prince Shmaa [surveying the labour of the] fields, traversing the backwaters, [bringing down the nestlings (?) and birds with the throw- stick].'* ^ '' His eldest son, whom he loves and approves, the Governor of the Residence, Sole Companion and Lector, Zau," stands in the bow of the boat in exactly the same attitude. Behind him is another son (?), now left without name, and overhead is seen the son Ada and a lector, both wearing the lectors sash and carrying birds in their hands. The water below is, as usual, crowded with fish, and Avith amphibians which are not much larger. The blue lotus and the thick water-weed, through which the canoe has to be forced, are also punctiliously represented. The marshes still furnish the subject of the upper part of the picture to the right, and also of a small compartment below, where the water is continued and a ferrying and fishing scene introduced, with some slight novelty of 1 Part I. p. 14. SOUTH WALL. 5 treatment. A fisherman in a small canoe is pulling in a line energetically : the occupants of another canoe passing ask him, " Are 'there fishes ? " He cannot be congratulated on his capture, if the fish he has hooked be, as it seems, the strange fahdqa^ whose plump appearance is only due to its power of inflation. The pool below is certainly stocked with fish in a way that would cheer the heart of an angler. The hippopotamus appears to be devouring some- thing ; perhaps a crocodile, as in the tomb of Ti.^ (For some details see Plate xv. ) The upper part of the wall is reserved for the netting scene, which is here devoid of action and without much detail. A united effort is the last idea which the attitudes of the four fowlers convey, nor is the mechanism of the net in the least apparent. Three birds are con- spicuous in front of the net ; as two of them have their wings bound, they may be intended for decoys. The third evidently represents a water-hen, whose home is the pool. There is written above : '* Netting birds in the beautiful pool, every kind that his Ka loveth, of the choicest of his Nome." The horizontal line of hieroglyphs below announces the subject of the remaining repre- sentations : — "The cooks (depu) and caterers providing for the JTa- prince Zau." Zau is sitting here in special state in stififened tunic and with upraised sceptre. Under the chair, which is grained in black and yellow, are the pets of their master. The preservation of the word ffi [ »^.«^ shows that a monkey was tied to the leg of the chair, and above this we have a charming side-incident, so unusual in character and so happily sketched in, as to re- deem its creator from any suspicion of being only a follower of traditional designs. The 1 Babdekeb, Egypt, 1898 edition, p. 140. people Avhich could introduce this hound, un- concernedly doing her duty by her pups under her master's chair, into scenes associated, even if indirectly, with death and future existence, must have possessed a sense of humour, and a free interest in the manifold forms of life, which could lift it far above any condition of dull servitude. Considering, too, the rough nature of fresco work in Old Kingdom days, the clumsy forms of puppyhood are really well rendered. (See the larger reproduction and restoration on Plate xv.) Zetetj the name of the mother, may signify " the fat one." In front of Zau are piles of provisions; on the one hand are onions, and three baskets con- taining joints and fruit; on the other is an array of jars, many of which are ranged upon a table. The ceremony "burning incense" is bemg performed by the "superintendent of bleached linen, Zau " ; he is followed by a " caterer," who also wears the ceremonial sash and carries a joint of meat. Two scenes follow. An ox is being led forward by " the superin- tendent of the gang of the tomb-estate " ; he and his assistant both wear the white sash. In the companion picture two men are "slaughtering" and cutting up an animal, while a third superintends the cooking of the joints. The object shown above is prob- ably the fan or screen used by cooks. South Wall. East Side. (Plate v.) The gathering in of the products of the marsh-lands is still the subject of the scenes ; the bountiful harvest of fish which it aflfords taking here the chief place. In the forefront, Zau, dressed in sporting attire, stands on his thick papyrus skiff, represented as without a boarded deck. Zau seems to be in the act of lifting out of the water the two fish, which, ^vith the skill invariably shown by a prince, he has transfixed through the gills at one plunge of the barbed spear. His son Zau is on the prow of the same boat, his hands full of fish and fowl, which he 6 TOMB OF ZAU. holds up towards his father. The descriptive columns in front read : — "How beautiful [T t^ ?) is the coining of Sekhet (goddess of the marshes) mistress of sport, with fishes (?) and (?) birds for the Ka of the J?a-prince Zau, whose good name is Shmaa ! '' As usual, the artist is not content to show what happens above the surface of the pool, but breaks through all embarrassing congruities in order to display the crowded scene below, without which his subject would have been but incompletely set forth. These waters extend also to the left, where seven fishermen are to be seen hauling into their boat the drag-net with its catch of fish. As in the tomb of Aba, eight species of fish seem differentiated.^ Hippopotami and crocodiles do not fail to appear, the scaly back of the latter represented by a serrated outline. Even the humble frog who sits among the water-weeds is remembered. The artist seems determined that the fording scene, which belonged to this portfolio, should also be inserted. A herd of cattle is therefore shown emerging from the water under the prow of the large canoe, and another, with still less reasonableness, is altogether submerged beneath the drag-net. In similar plight is a fisherman who is trying his fortune with a hand-net, which perhaps, but for lack of space, would have been of the usual form (Part I., Plate iv.). (The description " coming out from the water . ." probably applies to the oxen above it.) It must be remembered that this is not meant to be strictly a section of the water. The idea of drawing a transparent pool, seen from above, was probably at least as much present to the artist's mind ; though, in order to keep each object distinct, he places what is on, or partly above the water, such as the lotus- flowers, fisherman, etc., below the water-line, ^ But see Mr. Bouleoger's identifications of them, on p. 47. and draws each in the plane which best suits its outline, regardless of its natural position. Another striking example of the incessant tendency to conventionalism is seen in the device, more ingenious than tasteful, which fills the space behind the figure. The Egyptian artist followed nature in abhorring vacancies ; and our painter, wishing for something less closely filled than the usual background of reeds, has devised one in which the papyrus-heads are ranged with still more ostentatious symmetry, and the frightened birds are set in a neat framing in the centre. It evidently represents a square pool hedged on all sides by a thick belt of papyrus. The other half of the picture is turned towards figures standing on the extreme left. Part of the figure of Zau is preserved, and smaller figures may have followed. In front is a female figure which has no further identification than "the Sole Royal Ornament, the deserving Henut." As the wife and daughters of Zau are differently named, this would seem to be the sister of Zau, whom we know from the tomb of Aba. The scenes which face towards these figures depict the return of the boats across the mere, laden with the day's booty. Apparently two boats never met without a more or less playful combat with the long punting- poles, the object being to push the foremost defender of a rival boat from his insecure posi- tion on the prow. Such an incident has happened in the topmost scene, and his com- rades are hastily pushing off that he may regain his place, and once more equalize the fray. The lowest scene shows us men wading in the shallows and picking lotus-flowers of both varieties ; with these and with stems of papyrus they fill their bags. West Wall (Plates vi. and vii.). The scenes here are divided into two parts by the figures of father and son, which stand together in the centre. On the right hand are agricultural WEST WALL. scenes; on the left is the funeral procession. It is evident from these double figures which occur again on the B. and N. walls (Plates viii. and X.), from the reservation of the E. wall of the shrine for use by the son, and from the written record there besides, that the tomb was decorated, if not hewn out, by the son after the father s death, and with the intention that it should hold the bodies of both. The honour and affection in which the son professes to have held his father is pleasingly corroboiated by the paintings and inscriptions ; for in them the younger man plays a very inobtrusive part. On this wall the field-scenes face towards his father and mother alone. The tAvo figures in the centre seem associated with the funeral scenes which follow, and in this connection the son, who also was buried here, naturally appears. The wife of Zau, whose name Pepy-ankhnes was a favourite one at court, carries a staff made to imitate a complete stem of papyrus ; this was the traditional sign of feminine, as the Merp-sceptre was of masculine sway. (Repro- duced in colour in the Frontispiece.) Agricultubal Scenes (Plate vi.). '* Seeing the ploaghing, the gatheriiif2^ of flax, the reaping and carrying, and all the good festivals of the soathem com (?) for the Ka of the erpa prince Zau." The upper part of the. picture is covered with incrustation. In the first and second registers six yoke of oxen are seen ploughing, attended only by a ploughman, who holds the stilts. Though the simple plough is without cross-piece, it no doubt sufficed for the easy task of breaking up the soft Nile mud. A sower with his seed-bag follows behind the second and fourth ploughs, casting the grain in a straight line from his uplifted hand, and two ploughs which follow suffice to cover up the seed.* " Let the plough ^ The markings of the oxen are often added by the artist, but are genei-ally preserved only in part. They have been reproduced in one case here (red on yellow) to show the conventional treatment. work the soil and thy hand be prosperous for the Ka of the Ha-prince Zau." '* A great and good ploughing for the Ka of the Royal Chancellor .... deserving before the great God, Lord of Heaven, Shmaa(?)." In the third register men are tearing up the flax, beating out the seed from each handful as it is gathered. The stalks are then taken and bound into small bundles by others. The running inscription reads : " Gathering the flax in the farms of his tomb-estate 78915 (?) (bundles?) for the Ka of . . . Zau." In the loAvest register the wheat harvest is seen. The grain is cut with the sickle, bound into sheaves, carried off the field in rope nets on the back of asses, and stacked in a pile ready for threshing. The easy disci- pline of the harvest-field is suggested by the two figures who have ceased working, the one to take a draught from the jar of beer, the other to rub out some ears between his hands. The tongues also seem loosed, for the idle chatter of the reapers takes the place of a formal descrip- tion of the scene. Those who are working brag of their diligence : " I am the lad who will do it in proper time " ; "I am one who never rests because he is hot (?)." The next two sentences may be addressed to the asses : " darling brother" ; " Descend to the pasture (?), ass ! It will be at a fortunate time (?)." The fifth may begin : " Foi'ward to the threshing floor." Funeral Scenes (Plate vii.). The figure of the father, Zau-Shmaa, which precedes that of the son, Zau, is wrapped in the panther skin of the se7/i-priest, while his son wears the lector's sash. Over the head of the latter is the prayer to Anubis for burial offerings in his tomb of the necropolis, the provisions sought being set forth in thousands of each class. Tlie rites connected therewith seem suggested by the vases of purification, etc., which are depicted near by. The short inscription under these vases appears to be the heading to the scene. 8 TOMB OP ZAU. The whole picture is very closely analogous to that in the tomb of Aba (Part I., Plate x.). The dancers in the upper two registers here, however, face the same way as the procession below, and must therefore be taken as forming part of it. It was suggested in the case of the other tomb that the dancing was in honour of the living Aba, who is being borne in a palan- quin behind, and the more extravagant nature of the dance in the tomb we are now consider- ing may help to justify this difference of inter- pretation, on which, however, no stress is laid. As in the tomb of Aba, the female dancers are ranged in the upper row. Here only four of the dancing-girls perform in couples ; three others, who have been trained to extraordinary movements, exhibit their gifts separately. Even the insufficient aprons which these per- formers wear in the other tomb are here abandoned. It may be judged from their forms that the dancers are young girls, and their nude condition would only be a reversion to the state which' had been customary with them a little earlier in life.^ It is possible also that the dances were strictly private, and, as they Avere performed by inmates of the harem, may have been exhibited within doors.* It is unusual, however, for the performers of such dances to be without clothing. Elsewhere in this volume (Plates XV., xvii., xx.), where the forms of the girls are more developed, they wear the pro- fessional apron or tunic. The male dancers, six in number, wear only a sash round the waist. Of these, two are performing together, and one seems to be dancing roimd the master of the ceremonies. A choir of five sets the ' A realistic use of black paint by the artist precludes the supposition that the performers had not reached the age of puberty, and were therefore naturally unclad. (Cf . C. H. Steatz, A.Z, 1900, p. 148.) * Cf. El Bersheh, ii. 41, " Seeing the dance in the private (places) . . . hearing the words in the solitary apart- ments.'' measure and sings the ceremonial chants. The other three dancers seem to await their turn, and meanwhile join in the song. The inscrip- tion which runs above describes the scene thus: — " Dancing by the harem and singing (qmd?) by the singers (?) unto him who said what was propitious and repeated what was beloved in inquiring of the god (?), the fla-prince deserving before Mati, mistress of Aakemt, Zau." Next is seen the dragging of the bier towards its final resting-place. The long rope is held by five servants and three official personages, the foremost of whom is " the embalmer," and the third a smer (companion). The super- scription runs : — '^ The gangs of his tomb-estate and the Nome under his care following the bier {mesthept?). They say, ^ It is a procession for a worthy man, this for the fla-prince Zau.' " The coffin is placed in a canopied bier, mounted on runners, and a second and smaller sled, which perhaps contains in its shrine the embalmed viscera, is attached to the first by a rope. The voyage by water is next shown. A small ship, in which a crew of three only is seen, tows three funeral barges. The first of these carries the sarcophagus under its canopy, attended by two mourning women, who sit at the head and feet in the likeness of the weeping goddesses Isis and Nephthys. (Reproduced in colour by Mr. Buckman in Plate xiv.) A lector stands on an elevated platform in the prow. He is giving directions to the steersman, who from his position cannot see ahead : " Starboard " The second barge contains the other ark, and an official (am-khent) stationed, as before, at the look-out. Sailing-ships which carry passengers, or escort them, are seen below, and afibrd good examples of the vessels of the period, built after one type, though differing considerably in the lines of the hulls. The mast is stepped well forward, being lashed to a short stem which is built into the boat. It sometimes consists of two or three spars, the feet of which are spread out NORTH WALL. 9 and so obtain greater rigidity. In any case the top of the mast is fastened by stays to the deck fore and aft, a single stay sufficing in front, but a good number being made fast aft to meet the strain of a full sail. The square sail is pre- ferred, contrary to modem custom, though Plate xix. shows that the triangular sail was used for smaller craft. The sail is turned in either direction by ropes passing from both ends of the yard to the hand of the captain, who sits at the stern on a high but light frame-work supported by stanchions. Sail was taken in or furled by causing the yards between which it was stretched to approach or meet one another (as in the second boat), the tackle by which this was effected being made fast to the deck at the prow and managed by the sailor stationed there. The ship is guided by one or two steer- ing paddles, which are kept in position by a massive post ; they seem only to turn on their axes, and are manipulated easily by a tiller,^ the steersman sitting on the deck or on the roof of the cabin in larger ships. The first ship in this scene has reached its destination and the sail is about to be lowered, while the fourth hand pays out the anchor cable. The second boat has furled her sail a little too soon and must be poled to the anchorage. The third and fourth, which seem to convey the male and female passengers respectively (the latter in a closed cabin ?), are still under way. In the last, no one but the steersman is visible. On referring to Plate ii. it will be seen that the oblong burial shaft opens in the floor very near these funerary scenes. Mustering of the Cattle, etc. (Plate ix.). The parallelism between the tombs of Aba and Zau in point of treatment is still maintained. ^ Exactly the same arrangement for steering may be seen in boats on the Italian lakes. The steering oar is there fixed oatside the boat on one side ; a method which also was in use among the Egyptians. but the scene here is inferior in execution and poor in inscriptions, besides that half the scene has been lost by the only serious mutilation which these tombs have yet sufifered.^ The scene is surveyed by Zau, who leans upon his long stafi^, with both hands in an easy attitude, his kherp' sceptre in his left hand. At his feet are two sturdy hounds of the breed already seen on Plate iv., and a monkey, whose walking attitude has been well caught. The figure of the son is not shown, yet the second and superfluous list of titles overhead would almost seem to refer to him and amount to a presence in spirit. The vertical column, which describes the scene, runs : " Counting the cattle, twenty-four (?) thousand . . . . for the if a-prince .... Zau." As usual, the animals of the desert are shown in the upper- most register, this time against a background of red desert-land ; its scanty clumps of herbage being represented by spots of green. Of these there remain a number of gazelles, one of which is marked by a lion as his prey (continuation of the scene on Plate xv.), and two ibexes (?). The register below, in which two oryxes, which have been tamed, are being led forward by a herds- man, gives the connection between the fauna of the desert and the cattle of the stalls. In the additional fragment of the scene given on Plate XV., a third animal is seen either bounding through the tall grasses in all its native freedom or feeding on them. As in the tomb of Aba, a scribe sits in front, entering on a large tablet the numbers reported to be in the herds ; but in this case the result of his calculation has been transferred to the descriptive column. Behind him are two goats. The combative bulls are met with here also. The agricultural scenes having been trans- 3 I speak of the state in which they were left two years ago, but camiot answer for the present, as the Department of Antiquities oould not be induced to provide these unique tombs with the iron grating and masonry which were needed for their protection. « 10 TOMB OP ZAU. ferred to the W. wall, the other half of the picture was devoted to the banqueting scene, which could never be over-emphasized. The representation calls for no special comment. The ornamental vase was probably of the shape given to it in Vol. L, Plate vii. The family of Zau is shown above. As the title of Beba seems to be one which in the generation before was reserved for the brother or son of the Nomarch (Part I., p. 10), he can scarcely be other than a son. The names of the sixth son and of the two " companions " who follow are lost. We find again at least two sons of the same name occurring in the family. A figure ofifering wild fowl to the dead is named "the superintendent of the pool of sport, Pepy-na (?)." On the left side of the picture the border of entwined cords is added outside the border of rectangles shown in the plate. Arts and Crafts (Plate x.). Though this wall affords a counterpart to the rich and varied scenes from the workshops of Aba's palace (Vol. I., Plates xiii. — xvi.), yet it cannot be compared with it in value, partly owing to the destruction caused by a natural fault, ^ partly because a large part of the wall is occupied by what must be considered to be an overflow from the adjoining wall, the E. side of the shrine (Plate xiii.). The story told there of the double burial of father and son in one tomb is naturally illus- trated by the introduction of full-sized figures of both at the point nearest to the burial shaft, each with his honours recorded overhead." Shmaa stands with his long staff in his hand, and facing him is his son Zau, equal in height. ' The gap, as is thei^e iiot€tl, is not rendered to scale on the plate. - The two names in front of the tij^ures are to be sepai*ated. The name Zau is the conclusion of the four columns of titles on the left ; the suraame Shmaa completes the rtHX)rd •f the five columns on the right. but wearing a long wig, and standing, or approaching, without a staff in a somewhat deferential attitude. The son has also used the space afforded by the adjoining rebate to repeat his name, filiation, and titles upon it. Alongside the staff of Zau is a column of red hieroglyphs reading: "The draughtsman of the temple of Mati, Pepysenb, whose true name is Nesa (?)." No figure accompanies the name, and there can be no doubt that here we have the signature of the painter of the tomb, since it is evidently contemporary with the paintings themselves. It is very satisfactory to have the name of one of the fresco painters of the ancient kingdom, and interesting to learn that he practised his art in connection with the local temple. At the other end of the wall Zau sits under a canopy, the pillar of which is of the type of the papyrus-stem with closed flower. He is " surveying all the labour of the residence of the tomb-estate." The varied activity of the artizans on his estate is spread before him. Almost the whole of the scenes in their present state are occupied with the work of the carpenters. The fragments of other scenes only include a table Avith collars displayed on it, a scribe keeping the records of the work given out, a stand of vases from the skilful hands of the stone- workers, the beating of electrum on the anvil with stones (?) as hammers, and the melt- ing of metal on a furnace raised to the needed temperature by blowpipes. The loss of these pictures can, however, be made good from the tomb of Aba. Though the representations of the handiwork of the carpenters are close imitations of the scenes in the earlier tombs, yet the original character of the descriptive notes gives them fresh interest and value. The painting of the statue is being done " by the painter Wazy." Over the scene in which a seated statue is being worked rouglily Avith an adze by one sculptor, and more finely with chisel and mallet by BAST WALL. 11 another, is written : " The sculptor carving a statue (?) (tut?).'^ The female figure on the left must be the painted statue of a woman wearing a green dress, and carrying a papyrus sceptre : it represents, no doubt, Pepy-ankhnes, the wife of Zau. (See p. 7.) The shrine below is " of cedar." The great chest which two workmen are busily polishing is here not termed a heUy but " a {me)sethept (?) ^ of the priest of the god." The sceptre which the box is made to hold, according to the tomb of Aba, is of electrum, we are told here. In connection with the two workmen below who are " polishing a couch," the addition is made that it is of ses{n)ezem wood.^ The overseer. Senna, who stands beside them, is given the title " chief of the workshop " (semsu ukhertj the determinative of the latter word appearing here to be a cushioned seat). The carpenter below, on the right, who is working on a palanquin, is making it, we are here informed, of ebony. Another workman seems to be preparing planks for him ; and the third, who is dressing down a it«.§-headed stick, is described, as in Part I., Plate xiv., as *'a carpenter working on a staff (?)." Boat- building is represented in the final scene. The several operations are described as "striking," "working with the chisel," " shaping (?) a paddle," " boat-building (caulking?)," "workmen belonging to the tomb-estate." A man squat- ting in the boat is dressing down a kherp-shsLped object, which, as appears from the legend, is destined to become the steering paddle of the boat. East Wall (Plate viii.). The representations on this wall seem meant to serve the same end as those on the E. wall of the tomb of Aba, namely, to exhibit the impor- tance which rank and wealth had given to the ' Cf. p. 6. 2 Cf. Tomb of Ti, Baedeker, Ez/yj;/, 1898 edition, p. 137. deceased, and to suggest that the same tribute Avhich was paid to him in life should be given to him in the tomb by the provision of oflferings suited to his rank. Although the picture in general is in honour of the father only, yet the son has given himself a place behind the stand- ing figure of his father, as in Plate vii. (only the fingers now remain). The biographical inscription, which in the tomb of Aba filled the upper part of the wall, is here replaced by the customary prayers to Osiris and Anubis ; but the claim to rank is effectively set forth here by the illustration which follows, where Zau is seen borne in state in a beautiful palanquin by his retainers. The chair, which is formed with sides of open panel-work, is cushioned behind, and covered with a canopy supported on light columns. The upper part of this is elaborately decorated with fret- work (?) of dads and kheker ornaments. The whole is borne on long poles by four bearers. Zau is seen seated within, bearing the scourge and baton of authority. Two of his retinue carry flabella of the Old Kingdom type in front of the chair, and two others follow, all industriously performing their office. The scene is given much additional value by the song of the sedan-bearers which is written below, apparently in a complete version : — ** Happy are they who bear the chair. Better is it when fall Than when it is empty." ^ To judge by their dress the bearers are chosen from the lowest ranks.* The prayer to Osiris is of the usual form, and is on behalf of Zau-Shmaa, who is described as deserving before Mati and the great god (?) ; that to Anubis runs : — " May the king grant as 3 See Eeman, A.Z, 1900, p . 64. ^ A Coptic graffito of some size has been written across the scene. 1 find I have taken no copy of it ; presumably because it was illegible, but possibly by inadvertence. For notes on the short one given on the plate, see Appendix by Mr. Crum, p. 45. 12 TOMB OF ZAU. a grace and Anubia, who is on his hill, he Avho is in the city of Ut .... in all his seats (grant) his fair burial May the western desert give her two hands to him the Ila- prince, etc. . . . deserving before Anubis, Zau, whose good name is (Shmaa)." Both inscriptions were evidently terminated by sitting figures of Zau. Beneath is a proces- aion of female figures representing the estates of the deceased. Twelve are extant, and as that is the number in the tomb of Aba, this is pro- bably the complete list. iVnother figure of Zau may have faced them. That part of the lower half of the picture which faces towards the two figures on the left is filled with oxen, sheep, goats, and asses, which are shown cropping the herbage as they advance. These animals are roughly sketched as if it were a representation in which the artist had taken no interest. On the right Zau sits before the banqueting table, behind which a pile of ofi^er- ings is heaped under shelter. Vases, including a big bowl like that noticed before, are seen above. An ox is being brought forward as if for inspection, the cutting up of the carcase and the presentation of the choice parts being represented above. Shrine. West Wall. (Plate xi.)^ In the scenes of the shrine, artistic interests give way to definite religious motives, little or nothing being inserted beyond the representa- tions and inscriptions which were directly concerned with securing for the dead what prayer and ofiferings could furnish. This wall is occupied, therefore, by the list of offerings, the banqueting scene (both of which have suffered con- siderably), and the painted false door, so-called. The latter is large and contains a long list of ^ The usual border of coloured rectangles is to be supplied at the top and right-hand side of this plate. titles, but otherwise is unimportant. The prayer to the king and Anubis is in the simplest form. The door proper here is represented as consisting of two wooden leaves, secured by two bolts, the framing round it being of red granite. The figures on the left — one ofifering incense, another leading a gazelle, and a third presenting a bird — have been broken away with the face of the N. wall at this comer. North Wall (Plate xii.). The painted stela occupies the middle of the wall, dififering very little from that just noticed, but including prayers on the jambs to Osiris Khentamentiu, and Anubis, Lord of Sepa. The wooden door is strengthened by cross-bara here, and both sill and framing are painted to repre- sent granite. On the right are figures of Zau and " his beloved wife the Sole Royal Ornament Hentnes." The wife of Zau-Shmaa, as has been seen, is differently named, yet there is nothing in the rest of the scene to indicate that this wall is decorated in honour of Zau the son, nor should we expect it. It seems more likely, however, that it gives us the name of the son's wife than that it represents a second wife of the father ; but its insertion here may be an error on the part of the designer, and does not oblige us to attribute all the inscriptions on the wall to the son. On the left are servants. Those in the upper row wear the lector's sash and present food-offerings. The foremost is User, Super- intendent of the Audience-hall ; the lectors Senna and Asuy follow. Below are a lector holding a bird, two servants who lead forward an ox, and three scribes named Mehu, H. . ., and Aba. These latter carry their palettes under the right arm and bow deferentially. The horizontal line which records the honours of Zau is written on the rebate over the entrance to the shrine-recess, and reads from the centre in both directions. The Greek graffiti on it are to be noticed. Their position THE BIOGRAPHICAL INSCRIPTION. 13 high up and directly over the burial shaft may account for their partial illegibility, as it cer- tainly rendered them very awkward to copy. East Wall (Plate xiii.). This wall also is furnished with a list of offerings (with ninety-nine entries), the stela, and the banqueting scene as the essential repre- sentations. In this case they are on behalf of " Zau the son of Zau," and the stela gives us what is practically a complete list of his titles. The rest of the wall is occupied by a very valuable inscription written in green hiero- glyphs,^ in which Zau sets on record the filial piety with which he had carried out the burial of his father. Mr. GriflBth translates as follows : — (1) His eldest son, beloved bj him, of his body (2) who is in his heart, who holds his place (as successor, to be read »y-a^/?), the Prince, belonging to the great residence, the seal-bearer of the Lower Kingdom, the ruler of the Residence, (3) the authentic confidential friend, great chief of the nome of the Cerastes' Hill, Zau, saith, **I was (4) one beloved of his father, praised of his mother, (5) who loved his brethren and sisters. I buried (6) my father the prince Zau splendidly, more gloriously (?) than any [equal] of his (7) who was in this (?) South Countiy (?) ; ^ The solid hieroglyphs employed in this part of the plate do not imply any pecaliarity in the original. I have used as the basis of the text a copy made during the expedition of 1893 and prepared for the press in this form. I prayed as a beggar (8) from the majesty of my Lord, the King of Upper and Lower Egypt, Neferkara (Nephercheres), living for ever, (9) to draw oat (from the royal treasury) cofi^, cloth, festal-scent, (10) for this Zau. His majesty caused (11) the Eoyal Forester (?) to brings a coflfin of wood, festal-scent, (12) seft'Ointmeni and 200 lengths (bandage-lengths or bundles) of the ' best ' linen (13) and the *fine linen of the south' for cloth, drawn from the two treasuries (north and south) (14) of the (royal) Resi- dence, for this Zau. Never was it done (15) for another of his i-ank. Moreover I caused myself to be buried in one tomb (16) with this Zau, in the desire that I might be with him in one place, (17) not at all through lack of means (authoidzation ?) for making two tombs. For I did this in the desire (18) that I might see this Zau daily, in the desire to be with him in one place." The prince, confi- dential friend, (19) Zau, saith, " Oh ye, who live upon earth, servants like me ; loved of the king and (20) praised of their city gods are they who shall say, * Thousands of bread and beer, oxen and ducks, twine and cloth, unto Zau son of Zau.'" I prayed (21) [from his majesty the] decreeing(?) of the rank of Prince ( ^^^ - fl y *^-*— ' ^ ) ^^ D I ) ^^^ ^^^ ^^^ ' ^^^ majesty granted the making of a decree appointing him Prince by gift of the king." (U A)' A short discussion of some of the points raised by this document will be found on p. 35, et seqq. 3 Cf. Sbthe, VerbuMy ii., § 270. The interpretation of this passage is due to Mr. A. H. Grardiner. — [£d.] ^ The copy of this important inscription published by Prof. Sayce (Becueil, xiii. 66) is veiy nearly correct ; con- sequently there is not much to alter in Prof. Maspero's translation (t6td., p. 68). — [Ed-] 14 THE TOMBS OP THE NORTHERN GROUP. n.-THE TOMBS OF THE NOETHEEN GEOUP. l.-THE SITE. The general position of this group of tombs has been described in Part I., p. 3, and the aspect it presents on ascending the ancient and still well-defined path to the terrace from which the excavated wall of rock rises, will be easily grasped from the representation on Plate i. In its present condition the cliff, far from lying at a slope, even overhangs its base, and, but for irregularities in the face and the breaches now made from one tomb to another inside, many of the chambers would be quite inaccessible. The west part of the necropolis, indeed, might be likened to a colnmbarmvi, and the Egyptian vulture so far appreciates the similitude as to nest in the upper loculi. A large number of the chambers can only be reached by agility and some risk, and one or two only by means of ladders. Under these circumstances it will not excite wonder that no complete plan is appended of this street of storied but stairless houses, excavated in the living rock as an abode for the dead, and now ruined » beyond description. Existing monu- ments show that the cliff itself remains much the same as in the days of its excavators, but there has been suflBcient degradation of its face and foot to leave many tombs hanging in mid-air, which once were just accessible by little footholds and rock slopes. The excava- tion of several of the chambers must have been attended with danger and great toil. On the terrace at the top of the path a part of the ground is laid out in regular paths, the purpose of which is not evident. It is very difHcult to find terms applicable to rock-architecture, since such excavations, how- ever complicated, are neither built nor con- structed, and, while entirely underground, are entered by doorways in the face. The exca- vations for burial in the walls of these chambers I call burial-recesses, when their length is open to the chamber, so that a coffin would lie with its side exposed ; galleries, when the entrance is so small compared with the length that the coffin must have been pushed in endways. The tombs are always described as if the entrance faced the south, this being approximately the case in nearly all instances. 2.-LIST OF THE TOMBS. To save repeated description of the style of facade, the following classification is used, as in Part I. :— Type A. The rock face is here merely smoothed to a plane surface round the door- way. Type B. A projecting lintel-band extends across the jambs immediately above the entrance. Type C. The same with double jambs, the inner ones being slightly recessed. The list begins at the east end of the series. Tombs 1 to 27 are excavated in a rough slope of rock without any great interval between them. The rest are, almost witliout exception, situated in the perpendicular cliff by which the hills are continued Avestward. TYI'K. 1. 2. False door, 27 inches high, set at a slope. (Elevation on Plate* i.) Unfinished or minute tomb. LIST OF THE TOMBS. 15 TYPE. 3. A. 4. B. 5. 6. 7. B. 8. B. 9. 10. B. 11, 12. 13. u. 15, 16. 17. 18. 19. 20. 21. (Plan on Plate xxii.) Tiny chamber with a gallery (" mummy-slide ") at the back. Regularly-hewn chamber, with recess on E., and two galleries running off to the N. False door, 34 inches high. (Eleva- tion on Plate i.) Tomb, of which the chamber is un- roofed and partly destroyed. In the N. wall is a gallery and a niche with rebate round it, and in the E. and W. walls are recesses for burial. Gallery. Facade nearly upright. Tiny, rough chamber, perhaps un- finished. Gallery. Fa9ade gone. End blocked. Square chamber with rough-hewn walls. Galleries. Facades gone. Tomb, of which only traces of- the back part remain. The chamber had perhaps a gallery to the N. and a recess on the E. A mere niche in the rock face. Rough galleries. A broken-down tomb. A gallery seems to run N. from the back of the chamber. A tomb, of which only the (unfinished) back remains. A tomb (quarried away ?), of which only the back wall remains. In the N. wall is the entrance to a short gallery. Another (19a) in the N.E. comer is high up, and probably belonged to a tomb overhead. False door, 25 inches broad. (Eleva- tion on Plate i.) Facade destroyed and chamber blocked up. TYPE. 22. B. Small chamber with gallery at the back. About 3 feet high. 23. A. A mere niche within (unfinished ?). 24. Simple chamber. Roof and facade destroyed. 25. B. Small chamber with gallery running N. from the back. Facade set deeply back. 26. Small chamber and gallery to N., the former almost destroyed. 27. Only the plan of the back portion of the tomb remains. Perhaps there were two tombs, a small one with a niche at the back, and a gallery set at an angle to the first, and breaking into it. 28. Oblong chamber with gallery at the back. The front is broken away. At the N. end of the W. wall is • a small false door with lintel, tablet, double jambs, and drum. 29. Pit tomb. (Plans on Plate i.) Very shallow and with a very small chamber. 30. B. (?) Front and W. wall gone. Chamber with rude niche at back. 31. A pit-tomb (in front of Tomb 30), with a chamber on the N. 32 to 34. These tombs are now thrown into one, and perhaps confused also -with others below and in front, so that the original construction of all is lost, or can only be conjectured. The front and partition walls of all are broken down. 35. B. This tomb also is much broken, and may represent two tiers of tombs. Several galleries run to the north, some being above the others. One has a triple lintel above the en- trance (Plate i.). 30. Small square chamber with galleries rimning N., one being under the 16 THE TOMBS OP THE NORTHERN GROUP. TTPl. 37. 38. 39. 40. A. 41. B. 42, 43. 44. A. 45. B. 46. B. 47. B. 48. A. 49. B. 50. other and reached by a pit which occupies nearly all the floor. In the E. wall is a burial -recess. There are traces of a tomb below this. (Higher up. ) A mere niche within. Tomb of Neb-ab. (See Plates xxi. and xxvii. and pp. 33-4.) Tomb of Kheteta. (See Plates xxvii. and xxviii. and pp. 31-3.) A shaft (pit-tomb ?) above Tomb 39, which the fall of the face has left in section. (Plan on Plate i.) Square chamber with pit (chamber to W.). On the W. wall is a rough false door with cornice, torus, lintel, tablet, second lintel, triple jambs, and drum. Two basins for offerings are before it. From the N. wall run three recesses or galleries. There is also a niche as if for a false door. Remains of two small chambers, the facades of which are destroyed. Irregular chamber. The tomb is now almost inaccessible. A tiny, low chamber with gallery at the back. Beneath it is a niche with rough facade. Tomb of Asa. Above Tomb 44. (See Plate xxi. and p. 33.) Near it on the right is a niche like that just mentioned, and on the left is A gallery with facade and two square lintels in the entrance (Plate i.). Below Tomb 47 and above Tomb 49, with which it is now incorporated, owing to the fall of the floor. A gallery like the last. Rough chamber with a pit. A ruined tomb, broken into by the pit of the tomb above. There are TYPE. 51. B. thus four stories of tombs imme- diately above one another at this point. The doorway to this tomb is in mid- air, but can just be reached by climbing up the cliff* face. It lies so high up that it seems never to have been much more accessible than at present. It must have cost great labour to hew out the facade in such a situation, for it is care- fully formed with broad jambs, deep lintel, and a rounded drum in the doorway. The chamber within is a fair size. On the W. is a gallery and a false door (cornice, roll framing at top only, lintel, tablet second lintel, double jambs, and drum). It is plastered, and the word ainakhy which remains shows that it was inscribed. On the N. are two short galleries (Plate i.). That on the left is peculiar. After running a short way in, it met a natural fissure in the rock which winds eastward and downward, and can be followed for several yards. Advantage was taken of it to make the short gallery turn back upon its direction and so secure a more secret place of burial. After a considerable space of blank cliff*, a mound of rock covered with debris is ascended. At the S. edge of this slope there are traces of he^vn surfaces, one of which contains a false door. Hence it appears that at some period this ledge of rock at the foot of the cliff* was of greater height, and that tombs were cut in it which were later quarried or worn away. This slope may thus have afforded LIST OF THE TOMBS. 17 TYPE. 52. 53. 54. 55. 56. B, 57. B. 5S. A, an access to higher tombs which is now lacking. Fa9ade gone. Within is a small square chamber, almost the whole of the floor of which is taken up by a pit with a burial-recess on theN. A false door roughly fashioned on the cliff under Tomb 52. It has a lintel, single jambs, and drum. A false door on a detached block in front of the above (lintel, tablet, second lintel, triple jambs, and drum). A false door on the E. side of the same block. The upper pai't only of the facade remains. Within is a largish chamber, regular in shape, but much broken. The W. partition wall is gone, but there are traces of a plastered false door at the N. end, with oblong altar and a pit in front. The front and sides of the altar were divided into panels (see sketch on Plate i.). The N. wall contains the entrances to a short gallery, the framing of which is set deeply back, and to a burial-recess with a small square basin in the floor. Two more recesses for burial are hewn in the E. wall. Near the S. wall is a pit with small chamber to the W. Rough chamber. The E. and W. walls are broken away. (Lintel over entrance.) The chamber is rough, and the lower part of the walls have been mud-plastered at a later time. On the W. there is a gallery, the end of which breaks • into Tomb 60, and a false door on which green hieroglyphs have TYPE. 59. B. 61. 62. B. been painted. This has a painted cornice, roll and torus framing, lintel, tablet, double jambs, and drum. A pit gives access to two or three burial-places below, now much confused. In the N. wall a gallery and a large burial-recess have been hewn. (With lintel in relief and a round drum in the entrance.) Sloping facade without interior. (Plans on Plate xvi.) 60. A. Gallery, 9 feet long. (Plans on Plate xvi.) Tiny false door. (Plans on Plate xvi.) Within is an oblong chamber with numerous places for burial. On the S. is a deep trench in the floor; on the W. is a false door (roll and torus moulding, two lintels, tablet, double jambs, and drum). The altar in front has two basins. A large pit in front gives access to two chambers beneath the N. wall. On the N. is a burial-recess, two arched niches, and a plain false door with cornice and framing. On the E. is a burial-recess and niche. (With fa9ade set back in the rock.) Small irregular chamber with a pit which has a burial-place to theN. Small false door at the turn of the cliff, 31 inches high (lintel, tablet, double jambs, and drum). Its niche is covered -with Greek characters which seem illegible. The interior is merely a recess 2 feet deep. (With lintel in relief.) Tomb of Henqu. (See Plates xxii. — xxvi. and pp. 27-31.) There is a breach c 63. 64. A. A. 65. 66. B. 67. C. 18 THE TOMBS OF THE NORTHERN GROUP. TYPE. 68. B. 69. B. 70. 71. B. 72. B. 73. 74. 75. 76. A? from the cliff face into the recess in its E. wall (67a). (Plan on Plate xxii.) A small tomb now cut to pieces. On the W. is a gallery and a recess, which, judging from the altar in front, seems to have been designed for a false door. The altar has two basins. There are two pits with burial-chambers to W. and S. respectively. (Upright. Two jambs on the W. No lintel.) A small, rough room. There is a pit with a good-sized chamber to the W . , and as this is now enclosed in the S. wall of the tomb of Asa, that tomb may be considered subsequent. Outside the tomb is a pit. Small sloping facade. No interior. Pit- tomb with chamber to the N. outside Tomb 72. (With lintel in relief.) Tomb of Rahenem-Asa. (See Plates xvi. — xxi. and pp. 19-27.) Pit-tomb Avith chamber to N., just outside Tomb 72. Broken gallery or small tomb. Broken gallery or pit-tomb. Rough facade. Within is a large, low chamber extending W. from the doorway, and greatly cut into for places of burial. On the S. are two recesses for burial, two galleries, and a shallow upright recess. On the W. are a gallery and a deep upright recess. On the N. are two upright niches as if for false doors, a false door neatly fashioned in such a recess (with cornice, roll, and torus framing, tablet, double jambs, lintel, and drum), and two galleries, one of which is earned TYPE. 77. 78. B. 79. 80. A. 81-84. 85. B. 86. 87. B. 88. 89. 90. A. 92. A. through the false door. There are four burial shafts, one full, two with chambers visible, one empty for 7 feet. Gallery running W. out of the bay of Tomb 76. A small chamber within has a false door on the W. side and a rough recess opposite. Gallery (breaking into Tomb 78). This tomb is excavated, not in the cliff, but in the rock slope which leads up to it at this point. It contains a good-sized and carefully- formed oblong room, from the back of which a second irregularly- shaped chamber is entered. This room has a gallery running E. Small galleries, facing S.W., where the cliffs fall back a little. The front is destroyed in all cases. The two first run into one another at the back, and No. 83 lies above them. Small, low chamber. Four galleries run to the N. ; two from floor level, two beneath them from a pit. A broken gallery beneath the above. (With upright facade.) On the W. is a false door of unusual form (Plate i). On the E. is a ledge of rock containing a burial-recess. A gallery runs N. from a shallow pit. Broken gallery below Tomb 87. Facade gone. Small, low chamber, roughly square. Gallery with upright facade. There are signs that previously similar galleries existed in front, the cliff having worn or been quarried back. A few hieroglyphs, which seem to give the name Asa, are visible on TOMB OF RAHENEM-ASA. 19 TTPR. 93. 94. A 95. C. 96. m 97. 98. B. 99. A. 100. A. 101. 102. B. » 103. A. the left jamb (Plate xxi.). The tomb is almost inaccessible. Gallery under Tomb 92. Tiny chamber. iVlmost inaccessible. (See Plates xxi. and xxvii. and p. 34.) Gallery. Front broken away. Small false door hewn in the cliff (three lintel-bands, double jambs, and drum). (Two long lintels and a drum in the entrance.) The bottom of the facade has been broken away. A s(}uare ante-chamber is first entered, the walls of which have been plastered. There is an arched niche on the E. wall, and over the entrance to the inner chamber there are traces of an inscription in neat Greek characters (green) on grey plaster. The inner room is a large oblong room with its length E. and W. The ceiling is neatly plastered in grey and the walls plastered and whitewashed. The tomb thus appears to have been the habitation of Copts at some period. There is a small chamber on the N., a burial-recess on the E., and many small niches cut in the walls. The floor is deep in rubbish, but a shaft descends in the N.W. comer, which, four feet down, has a vault on the S. A very small chamber, the N. wall of which has been plastered. A shaft gives access to a vault on the N. A gallery with tiny ante-room. A pit, with gallery to the N. under the last. Small and rough rectangular chamber. A shaft (full) in N. W. comer. Long entrance-passage 'ending in a TYPE. 104. B. chamber only slightly larger. This has a gallery to the N. and a pit (full). A facade only, the niche being only about a foot deep. 3 -TOMB 72. Belonging to U ^v Rahenem, surnamed Ij _^ (j Asa. (Plates XVI.— XXI.) Titles of Asa (in order as on Plates XVIII., XIX., and XXL) :— 1. 2. 3. 4. 5. 6. 7. 8. D ^ Hereditary prince. I^JI Chief Lector. iS I H ^ ^^^^^ ^^ *^^ PiUared Hall, v^ I Gate of Khonsu (?). n ^\ S em -priest. 6 (^ ^^z:7 Master of every kind of tunic. ^® ^ Great Chief of the Du^ef Nome. 9. 1 ^ /I\ First after the King. 10. 11. 12. 13. I '^^5, Staff of the peoples. j^ ^ J^ ^li '^V ^^z:;^ (sic). An ka mut (?).^ n ? 3^ Sole Companion. ^ 1 14. i?f^ T=r 2-5" ^ Sab ad me?' of the Southern throne. S^ /\ ^ Superintendent of the Pyramid property. (Plate xix.) 1 This well-known sacerdotal title is written three times in the tomb in this unusual form, once (Plate xvii.) other- wise. For variants see Beni Hasan, III., p. 27. 20 THE TOMBS OF THE NORTHERN GROUP ^^' ^^^ Supreme Judge. 16. ^^ Vizier. 17. ^1 /VSA^AA Superintendent of the 18. Accounts of the King. D ^ 19. 20. [ic] ^^ fW\ ^ Star of Horus, chief in heaven. (Plate xxi. False Door A.) w ■^=t Great One of the Southern Ton. (False Door C.) ^V> [P] "^ ^ ^* ^^ ^^^ '' «^«^ D mm 21. the secrets. . . of Aakemt (?). (False Doo!- C.) p ^D AA/\A^\A I ^^ CT] J] k® He who is over the 22 23. secrets of the treasury of the god in the temples of Mam (?).^ (False Door B.) ^ I A/vwNA 'f^ ^ Superintendent of the priests of Mehti(?). (False Door B.) 5^ T y /wwNA ^ ^\ (?) Superintendent of the priests of Mati (?). ( W. Thickness.) Wife. n \ '\ c^ Kahenem. I " (n/c). Royal acquaint- ance. (Plate xvii.) ^ T y Priestess of Hathor. (Plate xviii.) Sims. (1) O— ^1] Asa. Nobleman of the King (?) . ( Plates xviii., xxi.) Companion of the house. (Plate xxi.) Sole Companion. (Plate xxi.) Lector. (Plate xx.) Great Chief of the Ihi-ef Nome. (Plate XX.) 1 Cf . Plate xxiv. (2) H ^ p Qednes. First after the King in the Great House. (Plates xix., xx., xxi.) Staff of the Peoples. (3)? ra ^ u Qehua (surname of the younger Asa?). (Plate xix.) Exterior (Plates xvi. and xxi.). The entrance to the tomb of Rahenem-Asa is reached by ascending a steep slope of rock and rubbish which rests against the cliff at this point. It is distinguished as the only tomb in either group which has a sculptured facade, but this fine exterior is now greatly damaged as well as half l)uried in debris. The front con- sists, as in most of the superior tombs, of smoothed jambs of some breadth and a tablet representing the lintel which stands out an inch or two from the face. The east jamb is almost entirely destroyed. The figures on the jambs are in relief: the hieroglyphs on the lintel are incised and coloured blue. On the left jamb (B, Plate xvi.) is a standing figure of Asa in pointed tunic and full wig. His Avife sits at his feet, holding a lotus in her hand. The titles and names are now almost illegible. The right side of the entrance is destroyed, but the left side (C, Plate xvi.) is decorated. Asa stands facing outward, wearing full wig and beard, collar and pointed tunic, and holding the long staff and kherp-sceiptre. Some person in front is holding a vase of ointment to his face and presenting a brace of birds. A figure (his wife?) sits near his feet. Prayers to iVnubis and Osiris are inscribed above. Intekiok. The tomb consists of two rooms, a large outer chamber decorated ^vith false doors and fresco paintings, and a small inner chamber TOMB OF RAHENEM-ASA. 21 openiDg out of the back wall. Only the upper half of the doorway to the latter has been cut through, so that the entrance to it is as through a 'window in the wall. A deep groove in the uncut rock shows that a full doorway was designed, but never finished. The floor of the inner room is at a higher level. The outer chamber presents a sorry spectacle. Heaps of rubbish cover the floor, two empty shafts yawning in their midst; the ceiling is broken in at one comer, the walls at another ; rough recesses are hewn in the lower part of the walls ; . one-half of the inscriptions of the stela is destroyed, and only dull patches of painting here and there indicate, or indicated before the present work was undertaken, that it had been a fully-decorated tomb. So hopeless a picture did it present, that no one had hitherto expected that more than the name and a few titles of the owner could be gleaned from it. But the worker on ancient remains soon learns that the judgment '* illegible " is never to be passed even on apparently hopeless subjects except after repeated trials under all possible conditions. Work on the fragmentary paintings soon proved that their condition was due much less to decay than to an overlay of plaster which they had received. After some tentative experiments, this was found to be easily dissolved by water without injuring the original picture. By this means the scenes on Plates xvii. to xx. were recovered, which, though executed in somewhat rough style, add some interesting material to the limited stock of Old Kingdom designs. West Wall (Plates xvi. and xxi.). This is almost entirely occupied by two false doors. That to the south is very rough, and may originally have been inscribed, as a coat of plaster seems to have fallen away from it. It is in general of the same form as the north door, having a similar framing, but instead of the two lower lintel-bands has merely a round drum over the doorway. A small niche between the two doors may have had a similar motive, as there is an altar before it rising in two steps, which probably extends in front of the south door. The north false door is also undecorated except by a coat of red paint, but the broad jambs and the projecting lintel of the framing are inscribed in incised blue hieroglyphs (Plate xxi.). A large part of the lintel (A) is broken away, and much of the writing on the jambs also is illegible. The inscription on the lintel (compare that of the outer lintel) reads : — *' [May the King and Anubis who is on his hill, He who is in the city of Ut, grant as a grace, and may] Osiris, lord of Dadu, grant that he travel on the goodly ways on which the deserv- ing travel [in peace, in peace, and his burial] in the western desert ; and may the West give her two hands to him .... one who is deserving, who says what is good and [repeats] what is good, as one loved of his father (?) praised of his mother [star of] Horus chief in heaven, the Sole Companion, Great Chief of the Du-^/Nome, Asa." On the right and left jambs (C and B) are prayers to Anubis and to Osiris respectively. The titles here given are included in the list on p. 19; the names of the seats of worship are discussed on pp. 43-4. The columns are closed by standing figures, but those in the middle columns are headed, "his beloved son." The name of the son is omitted or lost, and the inscription above does not refer to him. The stela itself stands in a very deep recess, the sides of which have been decorated with figures. On the left is ( 1 ) a blank with a few hieratic charactei-s ; (2) two men carrying gifts ; (3) a boy with birds, and another figure, whose title is half erased. On the right is (1) a man carrying a joint ; (2) (destroyed) ; (3) a man with flowers, and a man hurrying with baskets hung from a yoke ; (4) a hound eating a bird, and an attendant. Before this stela also there is a raised altar, the front of which has been 22 THE TOMBS OF THE NORTHERN GROUP. divided into panels (Plate xvi.). The decoration of the W. wall concludes with the familiar border of entwined cords. North Wall. West of Doorway. (Plate xvii.) This part of the wall is again divided into two by a border of rectangles. To the left are the representations connected -with burial offerings. The fiffures of Asa and his wife Rahenem, who sit together on a couch on the left hand, are represented on Plate xvii. Asa is smelling an alabaster cruse of " festal perfume," and both are dressed in exceptionally gay attire. Asa wears a closely-pleated waistcloth, the plain front of which is adorned with strings of beads. It is gathered at the waist into a decorated belt with coloured ties. The robe of Rahenem is suspended from the shoulders by braces of many colours. Both the upper and lower hem of the garment are also richly adorned. The whole of the dress is covered with a network of beads arranged in a regular pattern of colours. These, where preserved, are noted in the plate. The columns of titles are closed by the two names of Asa, taken alternately. The contents of the wall between the two portions given in the plate are as follows : — Asa stretches out his hand to a banqueting table of the usual form,^ above which is a list of offer- ings. Beyond this latter, provisions are ranged, and underneath them are two rows of servants who bring gifts. Over the upper row is A/WVNA fl>f.pf .(^£1 ^ 1 (Sic) Ij -^ Ij Over the lower is q>Mif:^l»Jlil1s.^! ^ A hieratic graffito is writieu across the table. The most diverse scenes possible are crowded into the space to the right of the dividing border. Commencing at the top of the wall, we have — (1) Fowling Scene. Asa's dahabiyeh is being pushed towards a clump of papyrus from which the birds are flying, and in which the incident of the robbery of the nests by rats is introduced, notwithstanding the small scale and rough nature of the drawing. iVsa, however, instead of being engaged in striking down the birds, seems to be tearing out a stem of papyrus. His wife sits by him in the prow of the boat, and seizes a bird by the legs. The dahabiyeh is urged by six (?) rowers and guided by a steersman. A figure in the midst of the crew may be a son of Asa. Two forked uprights are fixed in the vessel, and on these rest what may be the poles of an awning, or, more probably, the lowered mast and yards. A small cabin appears to be partitioned off in front. The figure of Asa is identified by the words, " The Sole Companion and Lector deserving before his lord (?), Rahenem." The larger boat is followed by a canoe which is propelled by a paddle. A figure, which is probably a second representa- tion of Asa, corresponding to his second name, stands in the boat, holding a brace of birds in each hand. A smaller figure has the attitude of a young son. The title is, "The sistrum bearer (?) of Hathor, mistress of the two lands, deserving before Osiris, Asa." The usual accessories of the picture, the hippopotamus, crocodile, fish, water weed, etc., are all roughly indicated. 2. Harvest Scene. Five or six reapers proceed in file, seizing handfuls of grain, cutting them with the sickle, and laying them on the ground beside them. The corn reaches well over their heads, and may be intended for millet. Two men behind are balancing a sack upon the back of an ass. 3. Dancing. Four girls follow one another in dancing attitude, to whom a (female ?) TOMB OF RAHENEM-ASA. 23 harpist supplies the music. The dancers are arrayed in short tunics, or perhaps merely a cloth cast round the loins, the free end of which is allowed to hang down in front. Their hair is adorned with lotus flowers, and they wear pendant as well as close-fitting necklaces, an amulet of familiar type being attached in one case. The space in which they perform is decorated with the leaves, buds, and flowers of both species of lotus. The word "dancing" is repeated before each figure. 4. Leading a Hyena. The scene is almost destroyed. The inscription " a fine hyena " shows that the animal is a female. 5. Gathering Fruit (over the entrance to the inner room). Five men are gathering bunches of grapes into small round baskets from vines which are trained over the forked heads of upright poles. Two others, standing on opposite sides of a tree (completion on Plate xviii.), are plucking figs (?) into baskets of a much larger size. North Wall. East of Doorway. (Plates xviii. and xix.) One-third of the space here is taken up by a figure of Asa surrounded by his family and body-servants. The figure itself is defaced by a rough groove which has been cut in the wall. Asa wears the sem-priest's skin over a tunic which, as before, is ornamented in front with bead- work. The skin is bound round the body, not only by a parti-coloured sash which passes under one arm and is tied in a knot on the opposite shoulder, but also, as it seems, by the waist-belt. His wife kneels at his feet, and his son (?) follows him, himself perhaps leading a son by the hand. An official behind him carries a flabellum of the form noticed in the tombs of Zau and Aba ; two body-servants are also in attendance (Plate xix.). The titles of Asa are written in an irregular and slovenly way, like many other inscriptions in the tomb ; the columns face, now this way, now that. In front of Asa are three officials. A scribe, whose paraphernalia are seen above him, presents a tablet to his master ; another plump official of high rank, '* the royal nobleman, Companion of the house, Thes-senes," has a roll of papyrus to lay before him ; a third pushes forward a nude underling for approval or correction. The rest of the wall is again a medley of scenes, the painter appearing bent on introducing a certain number of selected designs where they might best be fitted in. In the upper part of the picture the action is directed towards a light kiosque, supported on slender lotus-flower columns, all the woodwork being brightly painted with bands of alternate colours. Here Asa sits in an arm-chair to receive the reports of the scribes ; he holds the scourge as symbol of lordship. The blue patch which is added to the overlap of Asa's tunic seems another proof of the love of dress which prevails in the tomb. Asa's wife kneels by her husband's feet in the pavilion, and " Great," a slim bitch greyhound, bedecked with ribbons, stands by his chair. Two of Rahenem's handmaidens are in attendance out- side. One carries sandals and what is either the papyrus sceptre surmounted by a disc or a long-handled mirror ; the other, a bag and hand- mirror. What other details there were here have been lost owing to the cutting of a deep niche near the ceiling, and the consequent injury to the wall below. The person presenting the tablet to Asa is identified by his name and titles as his second son, Qednes. Two scribes sit behind, writing on tablets the report of two heads of departments who stand near. Each is provided with rolls of papyrus, palette, inkpot, spare pens, and writing-case. This incident of official supervision of afikirs may be connected with the following scene, in which the prince is making a journey by water. Two ships are again shown and two princes, to which, it seems, the two names of iVsa are attached, as if they represented two sides of his personality which 24 fV THE TOMBS OF THE NORTHERN GROUP. only in conjunction made up the complete whole. The ships sail on a piece of water, the inhabitants and vegetation of which are of the invariable type. The first vessel is represented as built of papyrus, yet it carries a substantial mast forward, solidly stepped and braced with shrouds fore and aft. This is of the double type, with connections at intervals, and carries a yard at the masthead, on which a triangular sail is bent. A sailor is seen climbing the mast, but a blue monkey runs up the shrouds with greater agility, as if in emulation. The captain sits in an elevated position, and divides his attention between the managing of the sail and the control of a monkey. The boat is guided by two free oars at the stern, each being in the hands of a steersman. The Great Chief of the Dn-ef Nome sits on a chair in the cabin here, but in the smaller craft which follows he stands on deck, leaning on his staff. This vessel is of the same rig, but constructed of wood and with the lines of a ship, built in that material. Only fragments of the legends above remain. In the lower division of the picture the various occupations on a large estate are depicted, agricultural and mechanical pursuits being com^ bined into a crowded scene. On the right Asa surveys the scene, leaning on his staff, and accompanied by his son (?) Qehua. His desig- nation is here, as elsewhere, written without regard to sequence. The line overhead seems to be a careless writing of " . . . deserving before the god {sic)j Rahenem, whose good name is Asa." The articles of the toilette, on which Asa seems to have laid so much value, are ranged behind, and include a gala tunic, resplendent in colour and adorned with two uraei. Three servants attend with articles of personal use, the sandals, the bag of linen (?), a case of walking staffs (?), another staff, and Icherp (?) sceptre. The scenes which he surveys include (1) Metal-workers. Four men, seated round a furnace, from the top of which flames are seen issuing, raise its heat by means of blowpipes. Above is an inscription, " Crush the abomina- tion of the Ka (?)." Next to these two smiths are seen hammering out a knife (?) or ingot with round stones on an anvil in the presence of a taskmaster. The superscription does not yield any obvious sense. The balance for weigh- ing out the metal, which is next represented, does not promise to give very exact results. *A man whose office may be that of " Superin- tendent of the chamber of the smiths " seems to have laid out various copper or bronze vessels, the product of their industry, before a " Scribe of the steward of the tomb-estate," in order that he may register them. Next in order are two groups which show the makers or keepers of jewellery busied with their task. The first pair are sitting by a large bowl, and are holding over it a collar, which seems made of coloured ribands fastened at each end into gold terminals, and fringed on the lower edge with red and green (or red and blue) drops. A blue liquid is dripping from the beads, so that it would seem that some process of dyeing or cleaning is going on. The legend, perhaps, is "furbishing a very beautiful collar" (nmh wsh'iv r nfr wr (?). The next pair may be stretching the collar to free it from creases, or applying some glaze or overlay to it ; for the exact significance of the word ssr here is not clear. (2) We now pass to outdoor scenes, and are shown *^the delivery (of a calf R ) by the herdsman Ka-user " (?). His comrade Pemeb (?) keeps the mother quiet by allowing her to lick his hand. The " Superintendent of the gang " watches the operation. (The two figures beyond are to be taken with the scene in Plate xviii. : they are personal attendants of Asa who carry the articles of his toilette). The subject is continued below, where a herds- man tries to induce a young animal to drink from a large vessel, ^' Causing the calf to drink.** Tomb of rahenem-asa. 25 It is evidently considered a valuable beast, for a fringed cloth has been laid over its back, i Behind this group is shown " the milking of a , cow for the Ka of Asa." ^ By this superscrip- tion we are clearly reminded what we, and perhaps contemporary spectators, may easily have lost sight of in presence of these scenes from daily life, that it is not as such they are presented here, but as assertions of the claim of the dead to a definite share in all the products of his former lands. The subject of the last group is the transport of a heavy baulk of timber. For easier removal it is suspended by a rope from a lighter pole, which four men have raised upon their shoulders. The careless designer has made his figures face opposite directions. " wood" is the legend attached. East Wall (Plate xx.). A deep niche two feet wide ^ has been cut from top to bottom of the wall through the paintings, which have also been injured by two other mutilations and numerous surface fractures. The subjects of the paint- ings here seem, like those already noticed, to have been chosen without unity of idea ; yet it is possible that all are connected with the funeral ceremonies and the provision of the funeral feast. All the- scenes tend towards a seated figure of Asa on the right hand. He is gaily dressed in yet another costume, his pleated tunic stiffened uncomfort- ably, and an elaborately-coloured ribbon, to which, perhaps, an amulet is suspended, hung round his neck. He is accompanied by his wife and hound, and by a son (Asa?) who brings a gift of birds and flowers. His titles seem written in disorderly columns, as before. but little save the repetition of the name, Rahenem, is preserved. In front, in the top register, two sons present offerings of birds and cruses of ointment. They are the " Sole Companion, Lector, and Great Chief of the Du-rf Nome " (Asa or Qehua?) and Qednes. Behind them is a barque, which contains a chest inscribed for '' The Sole Companion, Chief Lector, Sem" priest, and Great Chief of the Du-ef Nome, Rahenem." This coffin or ark is set on a bier under a light baldachin, and the two sacred eyes are represented above it. A man in attitude of adoration, and carrying the kherp- sceptre, stands in the prow. This boat is followed by a ship under sail, which contains, besides the crew, the figure of Asa (?) seated in a chair. From the attitude of the female figure before him, whether she be his wife or a professional mourner, it would seem that the deceased prince is here represented. Two sacrificial oxen led by herdsmen follow this scene, one of which wears the gay collar which was put on valuable animals when presented for inspection. The dancing scene in the second register may be loosely connected with the funeral pro- cession. Most of the dancers are dressed in the garb already familiar from previous examples, but one, who may be a singer, is in ordinary . woman's dress, and another is clad in a gay tunic of green and blue stripes with a broader stripe in front bespangled with red.^ Two wear chains round the neck, to which, no doubt, amulets were appended. Four of the number dance together, two by two ; the two remaining girls perform separately, with appro- priate gesture. The scene which follows is one of the daily incidents of life in the marshes, when the cattle are forced to swim the waters to reach their feeding grounds. It may here The sigiiH T jj must belong to the lost oame of the herdsman. Surely they cannot form an attribute of Asa. - Not represented to Bcalc in the plate. ^ Cf. Wilkinson, Ancient Eijyptianti, Vol. I., pp. 50r>, r>Ot>. 26 THE TOMBS OF THE NORTHERN GROUP. represent the transport of the sacrificial animals with the funeral convoy. The herd, and especially its young, are protected from the attacks of amphibians by boats before and behind. The hippopotamus rises as soon as the boats are passed, but is attacked by the occupants of a third canoe. ^ The next register shows the preparation of the meat offerings. An ox is being driven forward ; birds are being put into cages or taken from them, and selected parts are being removed from two slaughtered oxen. ^' Cutting up," or, literally, " selecting," is the title given to this operation.^ Flowers, a table of bread, and ribs of beef (?) are being presented to Asa by a servant in front. The lowest register, which runs from end to end of the wall, shows the preparation of two other necessaries of the table, bread and beer, which may be destined here for the consump- tion either of the living or of the dead. The interesting account given by Dr. Borchardt^ of the process of brewing in Egypt gives an additional reason for the close association of these household duties, by showing that the slight baking of barley bread was a pre- liminary step in brewing also.* The first step is the grinding of the barley, and, to judge from the attitude, this work is being performed by the fourth figure from the right (a man?). The coarse meal is then made into dough ; this ^ The painter makes a convenient hillock of water to accommodate the animal, nor does he hesitate to represent the bntterfly, which flits above, as of equal size with the hippopotamus, that both may be equally clear to the spectator. - The blue blade of the setep adze is visible in one instance. At this point and across the l^s of the dancers above there is a hieratic graffito of more than ordinary clearness and length. 3 A,Z. 1897, p. 128. * Bread-making and brewing are associated also in the scene, No. 91, at Cairo, given by Dr. Borchardt in the above article. may be the work of the man and woman next on the right, who are busy with large pans before them. The dough which has been prepared for bread is next seen ready baked, and spread out by a woman on tables in cakes of various forms. On the other hand, the dough that has been prepared for the making of beer is piled up in numerous earthenware vessels, a quantity of which are taken by a man and stacked for baking. Fuel must have been set amongst the vessels, for another man is applying a light to the whole and shading his face from the heat.* It is evident that from such a firing no com- plete baking would result ; but this is not desired. The bread is taken when half baked, broken into pieces, and soaked in water for several days. It is evidently this mixing that is being performed here in the three great bowls, set on stands, into which women are plunging their hands. It is apparently at the end of this period that the mass is trodden over in a vat by the feet, the process which was taken by the Egyptian as characteristic of brewing, and depicted in the word-sign for the act or actor.® We see this performed here by a man who stands up to his knees in a vessel ; nor is this all, for by a label on the exterior of the red vessel which shows yellow grains in a white mass, the artist has, in a thoroughly Egyptian way, exhibited to us also the hidden contents.^ On either side of this figure the final operation is shown, when the semi- liquid mass is placed in woven baskets over large bowls, and, being continually stirred and pressed, the liquid filters through into the receptacle below, and is ready for use. "* For this pile see the scene already alluded to, and Petrie, Deshasheh^ Plate xxvii. ^ Borchardt and Schafer, A,Z. 1899, pp. 83, 84. ^ The hands of those who stir the mass within the bowls are also punctiliously shown outside. TOMB OF HENQU. 27 South Wall. East of the doorway the wall has received paintings, but only a few fragments admit of being copied. The lower part of the wall at its east end is broken down, the pit of Tomb 69 having left but a thin partition. The subject of the fresco was that of fowling in the marshes. Asa stands in a boat on the right facing the doorway, his foot poised and his hand raised to hurl the throw-stick. Behind him are two smaller figures of sons. Asa is in a similar attitude to his father, but touching him with his left hand ; Qednes is also armed with a throw-stick. Of the scenes which followed, there are still visible three figures of birds carefully painted and nearly life-size, a crane (Plate xv.), a <=:> goose (brownish), and a — •*— duck (blue). The crane is a specimen of the flock, the number of which is modestly estimated at 21,342 (?) ! Between the figure of Asa and the doorway is another large figure leaning on a staff, executed in red, not in the customary flesh colour. This and its cramped position suggest that it may be a later addition. The sketch of a ship near this figure seems to be a graffito (Plate xv.). The short wall to the west of the doorway seems to have received no paintings. A great part of the surface is taken up with a burial- recess with arched roof. Provision for Burials. There are at least two shafts in the floor of the outer chamber. The larger of these descends in the N. W. comer opposite the large false door, and is at present open for 15 ft. The smaller shaft is close by it, and at 11 ft. below the floor gives entrance to a chamber on the N. about 8 ft. square, the floor of which is deep in rubbish. The walls of the chamber also are greatly cut into for burial-recesses and galleries; these, in the absence of proof to the contrary, must be taken to be burial-places of members of the family of the same generation, or at least of that follow- ing. There is one such on the north, two on the east, and two again on the south. On the north there is also a gallery and a small false door. The level of this and of the adjoining recess on the E. is below the general level of the floor : there must therefore be a pit or lowering of the floor in this corner. 4 -TOMB 67. Belonging to ^^ zi ^ Henqu, surnamed X • . • . T» (Plates XXII.— XXVI.) Titles (following the order in Plate XXIII.) : 1. D Hereditary Prince. M 2. -^. Ha-Prmce. 3. ^ /\ ^ Superintendent of the pyramid property. 4. P?[ifj^?] Supreme Judge. 5. Vizier. 6. ^ 1 Wl -^ (sic). Superintendent of the scribes of the accounts of the King. 7. [l? Sole Companion. 8. § fl\ J ^ Chief Lector. 9. lliy^ Chief of the PiUared Hall. 10. n ^v /S^^r/i-priest. . (Plates xxv., xxvi.) 11. ^ (^ Master of every kind of tunic. (Plate xxvi.) 1 2. ^® ^ Great Chief of the Vu-ef Nome. (Plate xxv.) Sons. (1) ^--^^ Asa. "Eldest." " Sole Companion." (Plate xxiii.) (2) 5=^^il(j(?) Themy(?). "Eldest." (Plate xxvi.) 28 THE TOxMBS OF THE NORTHERN GROUP. wife. (W I j Khentet-ka, whose surname is ( ( ( Au. " Royal Ac(iiiaiutance." (Plate xxvi.) Relations (P). (Plate xxvi.) (1) .,-^J^ Nebt. " Sole Royal Ornament." (2) '^ n Mertates, sumamed (| Teta (her daughter?). (3) ^^]^ Behesta(?). " Governor of the Residence." " Sole Companion." Exterior (Plate xxii.). This tomb is hewn in the clift* at a level considerably above those which lie further to the east; for a mound of debris with a substratum of natural rock rests against the cliff here, and increases the height at which tombs could be constructed. A fine fa9ade has been given to the tomb by cutting back the rock so as to leave the front in a protecting recess. A deep lintel tablet, cut in relief, overhangs the entrance, and well-smoothed jambs flank it on either side. The whole is set at a strong slope. Intkkiok. The tomb consists of two chambers, the inner room being small and roughly hewn, and raised a step above the level of the room outside. The outer chamber is now in a deplorable state, the partition wall on the W. being entirely broken down and the floor heaped with the debris. Nor do the wall-paintings make amends for this disorder, for they are coai-sely executed in a kind of tempera and much faded. Up to the time of the present expedi- tion also the greater part of these were more than half covered with a thick vellow wash. So much was this the case that the long bio- graphical inscription on the E. wall had not been seen, or had been considered past all hope. But as soon as it was discovered that a large part of this interesting document was still un- injured, and could be relieved of the overlay which had so long concealed it, the tomb assumed a new importance. The practice in the tombs of this group of cutting into the walls below the picture line in order to provide additional places of burial makes them very unsightly, and Henqu seems to have had a number of relations or dependants who sought, like Zau, "to be with him in one place every day." Along the N. wall these burial-places are, in order from W. to E. (Plate xxvi.) : (1) A narrow gallery running deep into the cliff; (2) a small false door ; (3) a burial-recess ; (4) two broader galleries; (5) a niche, as if for a false door; (6) the commencement of a great excavation, as if for a new chamber. On the E. under the great inscription is a false door and a burial-recess, the end of which is broken open to the cliff face (67(f on Plate i.). On the S. are two burial-recesses, from one of which a gallery runs E. in the thickness of the cliff wall. Inscriptions over these recesses indicate that the latter are contemporary with the original burial. West of the doorway is a false door. The few inches which are left of the height of the W. wall show that there was here a large stela with triple jambs, deeply sunk in the wall as in the tomb of Asa. The painted subjects are : — North Wall (Plate xxvi.). The space W. of the doorway, since it adjoins the stela, is reserved for the prescribed scene of banqueting. Henqu and his wife Ehentetka are seated on a couch before the table (red). Above it is a list of offerings with ninety-nine entries, and ])etween the two the prayer for thousands of oxen, cloth, and perhherii gifts is written. Beyond is a pile of offerings and two rows of servants, five in all, who present animals and TOMB OF HENQU. 29 viands of various kinds. Each column of the titles of Henqu is terminated by his name, but in the fourth a different name is substituted, with which the scribe does not seem to have been familiar. The only emendation 1 can suggest for this surname (?) is U A (Daressy, Le Mastaha de Mera^ p. 543), or, if the inked sign is correct, j\ East of the doorway the design is mainly con- cerned with scenes on the water, but other subjects intrude Avithout apparent connection. The left-hand portion has been facsimiled in Plate xxiii. ; the rest was too faint to copy, even the subject being often in doubt. In the scene preserved, Henqu is seen standing on the wooden deck of a papyrus canoe and plunging his bident spear into the water, which, following the convenient practice of the Egyptian artist, is piled up to accommodate the fine fish which he wishes to represent as a worthy capture for a prince. His eldest son, Asa, stands behind him, spear in hand, a figure of almost equal size. The tiny figure of a child in front, holding a bird and lotus bloom, has no "name attached. A boatman (?) is in the stern. Asa's canoe is followed by a smaller one in which Khentetka sits, herself also, as it seems, wielding a weapon in her right hand, though in her left she holds only a stem of lotus. The arrangement of the provisions, etc., behind her is difficult to com- prehend. The inscription above, giving the titles of Henqu, is very incoherently arranged. He is described as deserving before " the great god," " Osiris, lord of ... . and of Abydos," and before " his lord " (the king) ; the description of the picture is, "The deserving Henqu (?), Sole Companion and Lector, being conveyed over the backwaters to spear fish." A curious scene occupies the top corner. A couch is set within a pavilion, whose walls are formed by light wooden columns, connected at the top and apparently supporting a roof. When matwork or other material was stretched over this framework it would form a portable pavilion, in which a couch might be set for the princely pair to take their rest in when tired of sport. Three servants are spreading the bed. One smoothes the mattress, another hands the headrest, a third brings a coverlet (?). A parallel to the scene is shown in the tomb of Mera at Saqqareh, where Mera and his wife are seen retiring to their couch to enjoy a pleasant siesta there.^ In the space below this scene of sport men are cutting up slaughtered animals, but the inscription is too incomplete to show its purport. The aquatic scenes are continued to the right, but the subjects chosen for the upper registers have no connection at all with them, so far as can be seen. The pool of water stocked with fish is continued, and on it is a boat containing five figures who face towards Asa. Further on ten fishermen are pulling their drag-net out of the water. In the upper part of the wall are offerings, and, further to the right, figures of squatting scribes (?) facing to the E., and two groups of seated dwarfs occupied with jewellery. Perhaps a figure of Henqu originally closed the scene here. East Wall (Plates xxiv. — xxvi.). The centre of the wall is occupied by the great biographical inscription in three horizontal and twenty-eight vertical columns, the text of which will be found on Plates xxiv. and xxv.^ Facing this on the right is a standing figure of 1 Daressy, Le Mnntaha de Mera, p. 542. Cf. also L. D. ii. 14 (connected in A.Z. 1897, p. 168). 2 The inscription seems to have been in black hieroglyphs which had been previously sketched out less carefully in red. The copy has had to be made from the remnants of both, so that sometimes the solid sign has been copied^ sometimes the outline sketch ; at other times parts of both appear. Tlie ripples of the u sign were not marked in the first draft, but left to be inserted over the rough outline ; this will explain the varying forms of the letter. 30 THE TOMBS OF THE NORTHERN GROUP. Henqu, receiving the attentions of his " eldest and beloved son Themy (?), deserving before (his lord) every day." Themy is holding a jar of " festal scent " to the face of his father ; '' the judicial scribe- . . . .," who seems to be a son or grandson, accompanies him. The long inscription is closed in a similar way by a standing figure, in front of which is an oryx. Only the word § ffl J in enormous letters is visible. The space above the inscription is filled by five oxen with as many drivers, facing towards a figure who stands on the right. Beneath the inscription is a corresponding picture, represent- ing the ploughing and sowing of the fields. It thus seems to have been a custom to devote the east wall to an exhibition, whether in writ- ing or picture, of the eminence of the deceased, and his wealth in lands, crops, or cattle. (Cf. Plate viii. and Vol. I., Plate vii.) The inscription is translated as follows by Mr. Griffith :— (1) *' all ye men of the Nome of the Cerastes' Rock, O ye who are npon .... of other nomes, who shall pass by [this] tomb, of me Henqn : — speak good and sweet words (?), (2) pour out a libation, [offer] bread and beer nnto him who was devot'ed to Matyt lady of Aakemfc, and to the hawk-god, lord (?) of the temples of Mam, nnto the erpa -prince, the 86m-priest, confidential Friend, lector, great chief of the Nome of the Cerastes' Bock, (devoted) to his lord, Henqn. (3) ** I was one devoted, (4) beloved of his fathers, (5) praised of his mothers, (6) the burier of his aged ones. (7) Te fishers^ with the harpoon, (8) ye angled npon the bank of the stream, behold ye have grown old in the council of the nobles. (9) Never was enslaved the daughter of one of you ... . (10) her hands ; fetters (? or " 110 . . .") were not put upon one man . . . . (11) in this place iii which 1 am ; 1 gave bread to every hungry man of the Nome of the Cerastes' Rock, (12) clothing to the naked therein.3 Moreover I filled its dnnes (?) (13) with cattle, its valleys (?) with goats. (14) Moreover 1 sated the jackals of the desert, the vultures of heaven with the offal (?) (15) of the goats. ** O lover of all that is therein (?), (16) 1 acted as chief, and superintendent of southern com, in this nome ; never 1 g * /vwwN seems to have been wrongly inserted in smaller characters as an afterthought. 3 Note the feminine gender for the name of this nome. to draw water from the well (?) for his beggar (?) daughter in the offices (?) (pry-t), (17) Verily he who shall be too young among you for this pleasant speech, behold thy father he shall tell it to thee. (18) I stocked villages that were enfeebled in this nome with men of other nomes; (19) they who had been as serfs therein, I made their rank as nobles. (20) Never did I deprive him who was on his father's seat, that he should curse (?) me to my city-god for it. I spake and reported good. (21) Never did I yield (?) a man to him who was stronger than he, that he should curse (?) me to Grod for it." *' Then I turned (22) to be ruler in the Nome of the Cerastes' Rock, with my brother, the devoted, the con- fidential friend, the lector, Rahenem ; (23) 1 was beneficial to it with hobbles (?) of cattle, snares of fowlers.^ I stocked all its dwelling-places ^ (24) with people and cattle, down to fiocks, in truth : I have not spoken falsehood herein. (25) Moreover I (26) was one beloved of his father, (27) praised of his mother, loving his brethren. (26 his) Yea, I was one that was priest to the god of his city, putting fear [in the hearts of the profane?]." In the much-broken lines at the end one recognizes the sentence : (32) *^ I was moreover a perfect soul . . ." South Wall. The whole of the south wall is undecorated except within a small space marked off by a border of rectangles above the eastern burial- recess, and a corresponding record over its neighbour (Plate xxvi.). These representations amount to no more than simple burial tablets, and as the names are of the period, and persons occur who are evidently retainers of the house of Henqu, it is plain that those who are com- memorated here were relatives of his. The record on the left is on behalf of a woman, Nebt, who may have been a sister or daughter of Henqu. The short inscription shows her to have been a lady of rank and a worshipper of ^ Perhaps Henqu vTas the inventor of new snares and hobbles. * " The devoted Henqu " is here written in a small com- partment. The division of the inscription in lines and compartments according to the meaning is very unusual and curious^ but it is far from neat. There are obscure passages in this very remarkable text that must be left for future researches to interpret. TOMB OP KHETETA. 31 the local oroddess Mati. She sits before the banquet table, round which offerings are piled. A female figure, presumably her daughter, who is shown approaching with a bird, bears the names Mertates-Teta/ Then follow lectors carrying joints, etc., and two women bearing flowers. Two of the lectors are named Henqu and Asa respectively, after their master and his son. Outside this framed record is another on behalf of a Governor of the Residence, Behesta (?). Besides a short inscription the tablet only contains a standing figure of the deceased, before whom a lector of the same name offers incense. 5-TOMB 39. Belonging to '^ zi% Henqu, surnamed (| Kheteta. c^ a (Plates XXVII. and XXVIII.) Titles :— 1 . — ^ Ha'prince. ^ ( )3^ Superintendent of the South. 2. 3. n ? "^^ Sole Companion. 4. J /a J f Chief Lector. 5. J£ "^^ Great Chief of the Dii-ef Nome. 6. [ft] J 11 ^^ Chief of the Pillared Hall. 7. n ^v Sem-prieat. 8. § ^ ^^~^ Master of every kind of tunic. 9. 1 H pi Scribe of the Roll of the God. 10. } f ^37 Director of all Offices. ^ n.'^fiil He who is over the 11- -^|-[o secrets of Wife. J *^ (?) Benzet (?). (^) ^5I^(^) Rahenem(V). (^) ^1] Kheteta. (4) WiWK\ f«(?- iJ>) " U. (6) \ — \ (?) Asa(?). I Cf. L. D. ii. 110, Tomb 10; ^UiWi Said, p. 27. The whole of the front wall of this tomb has fallen awaj-, so that all trace of the facade is lost. When the tomb was excavated there was already a gallery running into the rock on the W., and in attempting to make the utmost of the space left to them, the clumsy quarrymen broke into this tomb. The part of the W. wall spoiled by this breach below has been left undecorated. The floor of the tomb is deeply covered in debris, so that its level is quite uncertain. There are indications, however, of a pit in front of the gi'eat stela, and there must be a pit in the opposite recess in order to give entrance to the burial-place below. A second chamber of small size, and elevated considerably above the floor level, opens out of the back wall. It is, as usual, uninscribed. The recesses for burial are numerous. Two such are hewn in the lower part of the W. wall, another on the N., and three at least on the E., that under the stela being at so low a level as to necessitate entrance by a pit ; the third runs out of the S. side of the E. recess; a short gallery has also been excavated higher up in the back wall of this recess, to the injury of the stela there. The roof of the chamber is very irregularly hewn. The paintings are in so deplorable a con- dition that it has not been considered worth while to reproduce in facsimile anything but a slight fragment, there being no representation the form of which was at once clear and of importance. In technique the pictures closely resemble those of the tomb of Henqu, seeming 32 THE TOMBS OP THE NORTHERN GROUP. more akin to true fresco than painting on a prepared surface. They have also been covered at some later date with a tenacious covering of mud-plaster and whitewash, which still adheres in parts and could only be successfully removed at some pains. West Wall (Plate xxviii., Gr to Z). Towards the N. end there is a false door sunk in a recess, which occupies the whole height of the wall save for a cornice above it. The door is framed within a roll-moulding, and all its parts save tlie drum have received inscriptions of the usual type, now so faded as to be scarcely legible. On the upper lintel (T) is a prayer to the king and Anubis on behalf of Kheteta. On the tablet (U) where Kheteta is seated at table in front of piled-up offerings he is called by his name, Henqu. The rest of the inscriptions only give his titles, which have been already noted. The deities to Avhom devotion is expressed are Mati and Ptah (?). In front of the stela is a raised altar. To the right of the recess are four vases of sacred oils with their names, and three rows of caskets. What the latter contain is not clear ; possibly mirrors. To the immediate left of the stela in the banqueting scene which so naturally accom- panies it, Kheteta and his wife Benzet sit on a couch before the table ; overhead are their names and titles and a comprehensive prayer for offerings on Kheteta's behalf (0, P, Q). Behind the table offerings are ranged, and two figures wearing the sash of the lector present joints of meat. They appear from the inscriptions to be sons of the deceased and are named Henqu (?) and Kheteta. The scene at the S. end of the wall represents Kheteta standing, his titles being enumerated above him and in three columns in front of him (G and H). Behind him is shown " the bringing of provisions (?) by his brother (brethren ?) " (G) ; they occupy three registers and comprise four men and two women, each of whom brings a gift of food or flowers. The women are named Benzet and Henema ; none of the names of the men is certain. North Wall (Plate xxviii., A to H). To the left of the doorway is a fishing scene. Though it is much damaged, Kheteta can still be seen standing in the boat with levelled spear. There are with him three male figures. The largest of these, who is in front and must re- present a son, seems named Rahenem. By his side is a smaller figure in whom we recognize his son Ampy, and beliind him a third son, a lector, Avhose name is half erased. Over the doorway is a calving scene, " Seeing that to which the cow gives birth (?)." The space to the right of the doorway is ocupied by a scene in which oxen and antelopes are led to- wards Kheteta by their keepers. " Bringing wild animals to the /fa-prince,^ Superintendent of the South district,- and Sole Companion, Henqu." The prince sits in a chair, holding a staff in his left hand and the scourge in his right. East Wall. (See sketch on Plate xxviii.) Opposite the recessed stela on the W. wall is a similar but deeper recess on this side of the room, also containing a stela, but much rougher and smaller, and uninscribed. To the left of this recess is a scene in which Kheteta stands with the ,.] u FACT AND CONJECTURE. is unfortunate that in every case where the ' name is spelt out instead of being contained in its word-sign, it is so badly preserved as scarcely to be beyond all doubt. The form xxi., Tomb 46, and Part L, Plate xxiii.) is shortened to ^^; 5 ((j^^^S?) in the tomb of Asa. (Plates xviii. and xxi., False Door, C), unless in each case the Old Kingdom form of ^ — ' should be read for the ^ which it so closely resembles. In the tombs of Zau, Xebab, and Kheteta (Plates xxi. and xxviii.)the forms are very doubtful, and elsewhere (Plates vii., xxi., xxiv., xx\aii. //, and Part I., Plate xxiii.) the spelling is merely f^, ^ ©, or ^ ^ ©.- ^ Bbl'G8<;u, Diet. Gioij. p. 888. ^ In all cases, whether the spelliDg is fall or otherwise, the vase is written within an embattled oval. THE COPTIC TEXTS. 45 APPENDIX I. Thk Coptic Texts. By w. E. Crlm. The Coptic texts on Plate xxix. are reproduced from independent copies kindly given me by Messrs. P. E. Newberry, G. Fraser, and N. de G. Davies. The copies used in each case are indi- cated here by initials. Dots below letters shoAv uncertainty of reading. Where the copies diverge, the more probable reading is adopted. The lacunae are of only approximate lengths. The texts are all painted, I understand, not cut, and are doubtless, like similar graffiti elsewhere, the work of monkish dwellers in the desert. Nos. 1, 3, 4 are from a cave described as situated " a short distance up the Wady Si (it, which divides the Gebel Kumeh from the Gebel el Gebrdwi " (N. in Archaeological Report, 1 892-3, p. 13), and as " about half an hour N.E. of El Gebrawi " (F.) ; No. 5 (not in the plate) is from " a small cave about two miles back in the desert behind El Gebrawi" (N.). It is not improbable, therefore, that all these are from one place. No. 2 is in the tomb of Zau (Plate viii). The absence of palaeographical facsimiles hinders any estimate of the age of the graffiti ; internal evidence would merely place them after the 4th century ; they might, on general considera- tions, be expected to belong to the 6th, 7th, or 8th. The dialect, except in No. 2, is a tolerably correct Sa4dic. El Gebrdwi lies in the midst of a district rich in Christian saints. Countless martyrdoms are ascribed to Antinoe on the north, to Lycopolis, Hermopolis, Ptole- mais on the south. The hills, especially along the E. bank, are full of the caves of hermits ; at several points are the remains of famous monas- teries. Those identifiable among the persons and places in our texts point to a group of local saints whom we often meet with ; the best known perhaps being Paul of Tammah (or Antinoe), the friend of Pshoi of Scete, and so contemporary of Macarius (c. 390), and Apollo, contemporary of Paul and founder of the great monastery at Bawit. No. la (N.F). After the customary invoca- tion of the Trinity, Maiy and Gabriel, the writer transcribes (11. 3 — 11) without introduction 1 Cor. iii. 5 — 9. Of. Mws. frang. iv. 627 and 731, where parts of the passage are incidentally preserved. LI. 12 — 14 are apparently a patristic quotation embodying Luke i. 5 {v. A.Z. 1886, 43). LI. 15, 16 gave the scribe's name. Jk6ou, whence he came, recurs in No. 5. Possibly this is for Tkoou (Antaeopolis) ; c/. Nos. 3, 8. LI. 17—19 give Luke iii. 22 {v. Bee. V. 119). No. lb (N.F). Below the last. Consists of saints' names, the writer adding his own (?) and a prayer (" Pray for me *'). Victor, presum- ably the famous son of Romanus, was patron of a church at El Gebrawi, noted by Vansleb {Relalion, 1677, 361). For Pshoi and Paul, v. below. Isaac may be the martyr of Tiphre or the disciple of Apollo {Synax., 10th Bermudah). The rest unintelligible. No. 2 (D.F). L. 1 has a Mid. Egyptian form of holokottinos^ " solidus " ; 1. 2 is Mid. Eg. for haroouy " for them." Apparently therefore part of a financial statement. The rest to me unintelligible. No. 3 (N.F). Consists almost entirely of an invocation of the Trinity, the 7 archangels, "our holy Mother Mary" (11. 1, 2), and of two 46 APPENDIX I. series of names, all of which being preceded by Aj)a might indicate merely contemporary celebrities, as e.g. in Lepsius, Denkm. vi. 102, 103, were it not for the well-known saints occurring among them: Victor, v. No. li. ; Solomon ; Onophrius (?), v. Symtx.^ 16th Baonah ; Dorotheas ; Pamoim of Po . . . ; Hor. LI. 5, 6 have a prayer addressed by Paul, the writer, to '' all who stay in this place." LI. 7 — 22 are by another writer, who had effaced the end of Paul's inscription. He invokes ^*our blessed fathers '' Stephen ; Elias the Syrian ; Andreas of Tkoou (Kafl) ; Lazarus; Hellen (c/. Illsf. Lans. lix, perhaps = Oueeniuj Leyden MSS. ' co2)te8 185, Miss. iv. 422, as^EXX-jji/ might be held ill-omened) ; John of Pake (also in a graffito from Denderah) ; Psate and Kallinikos (martyred bishops of Ptolemais and Hermopolis respectively, cf. AmblineBM^Actes 38, 53) ; Ammonius of Thone (or T6ne = Gebel Tunah, W. of Hermopolis, whence came the " 7 saints," v. Amelineau Geogr. 525, Synax.^ 29th Baonah. A. was a friend of Apollo, v. Syiuix.^ 20th Bashans) ; Papnoute " the sick " ; Moses and Elias (?) : Pshempnoute (the name occurs stele Cairo 8497. Cf. forms like Pshentaese, Mas, Guim. xvii. 30) and Elias his brother; Jeremias; Sansnau (Savavcj^f this saint perhaps in Mitlli. Earner^ ii. 261) ; Moses of Eiom, also in a text from Bawit ; Sourous ; Peter ; Mare {cf. ? Syrian Maris) of Tmou-ger^ge (" the Isle [of] . . :') ; Phoeb- ammon of Tmou-nakon (" the Isle of . . .") ; Pshoi of Jeremias (contemporary with the next saint, V. Miss. iv. 767. "Jeremias" possibly indicates his monastery ; one so named S. of Antinoe, Corpus Bainer^ ii. Ixxxvi) ; Paul of Tamma {v. Zoega, No. clxxii, Miss. iv. 759, Synax., 7th Babah). LL 16—22 : " AU our holy Fathers, have mind of us in the heavenly king- dom. Have mind also of me, Ammon[ius], that have wi'itten all this, that God may forgive me my sins. Amen. — Have mind also of me . . . . , tliat God may watch over me on all roads on which I go. Whose is the glory for ever and ever and all ages (?). Amen." No. 4. Merely the names of Macarius (pre- sumably M. the Great) and Apollo {v. No. 5). No. 5 (not in plate). Invocation of the Trinity, Michael, Gabriel, Mary, the Apostles and Martyrs, and of some saints beginning with Apollo, Phib, and presumably Anoup (illegible). This is the trio so often named on one class of commemorative stelae {e.g. Miss. iii. 27^ No. 7, ib. 30, No. 50 ; Bee. v. 63). They were probably specially venerated at Apollo's monastery at Bawit, which is referred to in the history of Shenoute {Miss. iv. 321 ; cf Chassinat in Archaeological Bej)Oi% 1901-02, and my note there). Sourous, Macarius and Ammonius are likewise mentioned and the writer gives his home as Jkoou {cf. No. la) and quotes two passages, the second being again Luke iii. 22. THE FISHES IN THE PAINTINGS OF DBIE EL GEBRAWI. 47 APPENDIX II. The Fishes in the Paintings of Deir el Gebrawi. Mr. G. A. Boulenger of the British Museum, who is working out the results of the recent survey of the fishes of the Nile undertaken by the Egyptian Government, has kindly identified for us, as far as possible, the species figured at Deir el Gebrftwi. He remarks that in some cases the artist has generalized, or combined in one figure characteristics of more than one species, to such an extent as to render identifi- cation impossible. — [Ed.] The list of species is as follows : — Moon-fish. Alestee (P) . Ar. rai . . I., PI. v. ,, . Citharinas \ kamr el geoflfroyi j bahr . II., PI. iv., v. Labeo . lebis . I., PI. iv. Barbus byiini . binni . II., PI. iv., v., xv. Eatropius \ shilbe niloticas J zarka (?) I., PI. vi. Schilbe mystus . sliilbe . I., PI. iv., v. ; II., PI. iv. Synodontis schall shfU . I., PI. iii., iv., v., vi.;II.,Pl.iv.,v. Synodontis \ shal batn membranaoens j soda . I., PI. iii. . bdri Barbel Gat-fish }} )» »» Ghrey mnllet V Mngil I., PI. iii,, iv., v., xxi. (top) ; II., PI. iv., V. I., PI. iii., iv., V. ; II., PI. V. I., Pi. iii., iv., v., vi. ; II.,Pl.iv.,v. I., PI. xxi. (third fish in net). I., PI. iv., V. ; ir., PI. iv., v., XV. Vol. I. PI. iii. In the water (in order from the right) are Tilapia nilotica, Crocodile, Synodontis schall, Mngil, Synodontis membranaceus, Crocodile, Lates niloticas, Hippopotamus. Nile perch Lates niloticas . l^eshr Bolti . Tilapia nilotica . bolti „ . Tilapia galilaea . „ Ball- fish . Tetrodon fahaka . fal^uqa Vol. I. PI. iv. In the net, banning from the right, ....?, Magil, Lates niloticas, Tilapia nilotica, Tetrodon fahaka, ....?, Synodontis schall, Tilapia nilotica, Labeo ; and in the water below, Tetrodon fahaka, Schilbe mystus. Crocodile, Tilapia nilotica, Mugil, Hippopotamus, Lates niloticus. PI. V. In the water, from the right, after two Crocodiles, Tetrodon fahaka, Tilapia nilotica, Alestes ?, Hippo- potami, Schilbe mystus. Crocodile ?, Synodontis schall, Mugil, Tilapia nilotica, Lates niloticus. PI. vi. Eutropius niloticus, Synodontis schall, and Tilapia nilotica. PI. xxi. At the top, Mugil, enlarged from PI. iv. In the net, beginning from the top, Mugil, Lates niloticus, Tilapia galilaea, Synodontis schall, ....?, Tetrodon fahaka ; the hieroglyphs determinative of '* fishes,'' enlarged from PI. iii., represent a Mugil between two Tilapia nilotica. Vol. II. I'l. iv. Plates iv. and v. of this volume perhaps contain the best series. Here, below the two boats, are seen a toad (Bufo regularis), Tilapia nilotica, and below it, Mugil, Citharinus geoffroyi, and Tetrodon fahaka; in front of the hippopotamus, Barbus bynni; over it another Tilapia nilotica; and be- hind the animal, Synodontis schall with Schilbe mystus below. PI. V. In the water, beginning from the right, are, over the crocodile, Synodontis schall, Barbus bynni, and Citharinus geoffroyi ; Tilapia nilotica, P, Mugil, Tetrodon fahaka, Bacbus bynni facing the hippopotamus; ?, Synodontis schall, with Tilapia nilotica below. In the net, Barbus bynni, Mugil, two Tetrodon fahaka, two Tilapia nilotica, ...?,....?. PI. XV. Enlai» i» PAGE 7, 9, 12, 24, 25. 26, 30 7 19, 45 35, 36, 41 . 11 8, 10 . 23 11, 45, 46 . 45 Saints, names of (sec List of names, p. 51) Conventions in Egyptian art Couch depicted Crocodiles represented Crum, Mr. W. E. . Dahabiyeh represented Dancing scenes of . Dendereh, comparison with records Desert fauna depicted Dogs depicted .... Dogs' names .... " Draughtsman " at . 4, 6, 26 . 29 5, 6, 22, 47 . 11, 45 . 22 8, 22, 25, 32 41, 43, 46 9 5, 9, 21, 23 5, 23 . 10 22, 23, 24, 25, 34 Dresses, ornamentation of i>w-e/Nome 1, 2, 13, 19, 20, 21, 25, 27, 30, 31, 33, 36, 38, 40, 41, 42, 43 El (iebrAwi, viUage of " Embalmer*' . i Estate-iigur(»s . 45 Fahdqa fisli Fan bearers False doors Fish, species of ' Fishing, scenes of 10, 23 I Flax-gathering . 10, 11 Fording, scenes of 19 5, 47 . . . . J- 1- 1 Mt) 12, 13, 14-19, 21, 28, 31, 32, 33, 34 6, 47 7 • • • • • Of JkO E 50 INDEX. PAliE l»AGK ** Forester" .... • . 13 Mehu . 12 Fowling, scenes of . 4,5, 22, 27, 33 Mertates-Teta .... 28, 31, 39 Fraser, Mr. G. • . 45 Mesen, Horus of ... . . 43 Fruit-gathering depicted . m . 23 Metal workers depicted . 10, 24 Funeral ceremonies . • 8,25 Middle Kingdom, affinities with 40, 43 ,, barges • 8, 25 Monkeys as pets .... Mourners ...... . 5, 9, 24 8,25 Gardiner, Mr. A. H. . . 13 Gebel ^larag .... • . 10 Names as evidence of date 39, 40, 41 Gobel Kurneh .... • . 45 Nebab 33, 34, 39, 44 Golden Hawk, cult of • . 43 Nebt 28, 30, 39 '* Great Chief" 1, 2, 13, 19, 20, 21, 24. 25, 27, 30, 31, Neferkara, King . 13, 36, 37 33, 38, 41, 42 Nesa . 10 Greek graffiti .... • • 12, 17, 19 Ne-user-ra, King .... . 41 Griffith, Mr • ■ 13, 30, 36 Newberry, Mr. P. E. ,, Mr. J . 45 . viii, 33 Harpist • ■ . 23 Nomes, relations with neighbouring 30, 42, 43, 44 Harvest scenes • • 7,22 Hathor, the Goddess • • 20, 22, 43 Offerings, Hst of ... . 12, 13, 22, 28 Hawk-gods .... • a 30, 43 Old pLingdom, affinities with 39, 40 Hefta . • . 33 Osiris, prayers to . 11, 12, 20, 21 Henema • • . 32 Henqu (Tomb 67) . 27-31, 38, 39, 40, 41, 42 Painting, style of . . . .4, 21, 28, 31, 39, 41 ,, (surname of Kheteta q ■V.) Panelled altars .... 17, 22 ,, (other occurrences) • 31,32 Perneb . 24 Hent-nes .... « 3, 12 Pepy, period of King 38, 39, 41 Henut • 6 Pepy-ankhnes, wife of Zau-Shmaa . . 3, 7, 11 Hippopotami, represented ■ 5,0, 22, 26, 47 ,, daughter of Zau-Shmaa L . 3 Horus, the god • . 1, 20, 43 Pei>yna . 10 Hyena depicted • . 23 Pepysenb Pit tombs ..... . 10 15, 16, 18 Invocations, Coptic • 45, 46 Plaster, scenes overlaid with 21, 28, 32 Isis, Matyt a form of • . 43 Ploughing, scenes of . . . Policy of the Nomarchs 7,30 35, 42 Jewellers ..... • 24, 29 Ptah, the god Puppies depicted .... . 32 . 5 Ka-user • . 24 Khentet-Ka .... ■ 28, 29, 39 Qehua • 20, 24, 25 Kheteta, Henqu- . 31, 32, 33, 38, 39, 40, 44 Qednes 20, 23, 25, 27, 39 ,, (other occurrences) . 31, 32, 33, 34, 39, 40 Kahenem-Asa . . 19-27, 30, 34, 38, 39, 40, 41, 42, 44 Lectors ..... i, 7, 8, 12, 25, 30, 31, 32 ,, ,, of Tomb 46 {see Asa). Lioness of Mati • • . 43 Rahenem, wife of Rahenem-Asa ,, (other occurrences) . Rope-God (?) • • • 20, 22, 23, 41 31, 32, 39 . 2 Mam • • 20, 30, 43 Maspero, Professor . • • . 13 Sayce, Professor .... • . 13 Mati, the goddess . S, 10, 11 ,20,21, 30, 31, 32, 34, 43 Scribes . . . 9, 10, 12, 23, 24, 29, 30 ,, seat of worship of {sec also Aakemt) . 3, 8, 44 Scripture, Coptic quotations of • 45, 46 Matyt {see Mati) ** Sculptor" • . 11 Mehti, the god • • . 20, 43 Sculpture ..... • 3, 20, 34, 39 INDEX. 51 SekheyH'Sce^tre divinity Sekhet, goddess of sport iS'cwi-priest ..... Semsic Hayt ..... Seten dy hetep practice Senna Sheikh Said, comparison with tomVjs of PAGE . 43 . G . 7, 23, 32 3 13, 36, 37 . 1'2 38, 39, 41 8, 9, 22, 23, 24, 25, 27 Ships ..... Shmaa (see Zau-Shmaa). Signature of Artist . Singers ..... Song of Sedan-bearers Southern Group, tombs of Sowing seed .... Stela (see False door). " Superintendent of bleached linen " . .5 ** Superintendent of the gang of the tomb estate " 5, 24 ** Superintendent of the pool of sport " . .10 *' Superintendent of the audience hall '* . .12 . 10 H . 11 3, 38, 39, 40 7,30 " Superintendent of the chamber of the Smiths " PAGE 24 Themy 27, 30 Thes-senes 23 Titles . 1,2,3,19,20,27,29,31,33,36,39,40 Transport of timber ....... 25 User .... Vase, ornamented . Wazy .... Wardenship of desert routes Weighing depicted . . 12 10, 12 . 10 2,36 . 24 Zau-Shbiaa 1-13, 23, 28, 35—45 Zau, son of Zau-Shmaa . 2, 3, 4, 5, 6, 7, 10, 11, 12, 13, 35, 36, 37, 41 ,, servant ........ 5 Zetet, the dog 5 LIST OF COPTIC PROPER NAMES. {Appetulix /., pp. 45, 46). Persons : Je rem las. Papnoute. Ammonius. John of Pake. Paul of Tamma. Andreas of Tkoou. Peter. Anoup (?). Apollo. Kallinikos. Phib. Phoebammon of Tmounakon. Lazarus. Psate. Dorotheus. ^K jT Pshempnoute. Macanus.' Pshoi (of Jeremias) Elias. Mare of Tmougerege. Moses. \ ' Hellen. Sansnau. Hor. Onophrius. Solomon. Sourous. Isaac. Pamoun. Stephen. Victor. Eiom. Jkoou. Pake. Tamma. Tmougerege. Tmounakon. Thone. Tkoou. Places : PRTNTKD BY GILBERT AND RIVINOTON, LTD., ST. JOHN's HOUSE, CLERKENWELL, K.C. o s— Cf- i C^ .1" C5 • i < -^<= Jii CT^illf™'"^'"'! Pi In gsti; DSlj ^ "^ ' I I 1 F J ^ Deir el GebrXv/\ W. TOMB OF ZAU. Plate II. v jm^/w/w/JiW!if?w/wMfMJ ^ x»»^MM^mw4 W//////MS^/A/im 8ECTION, LOOKING NORTH ^ji^jiM^AM/'yj'jY ^/y^^^yyyyy^j'^ PLAN WKMSl etCIMlTMW Scol« JJ^^^^^^^^^^a^a^aa^Bi f ^ priT ifc ■M nKT«i« DEW ei-Qebrawi II. TOMB OF ZAU. Ill II im II II ■■ irTf tmnntzsrji iina: SOUTH WALL. WEST SIDE. DeiR EL QebrAwi II. SOUTH WALL, ' SIDE (Completion). II II II irmrii ii ii ii ii Tn "■ °^«<.v, „. West nr^ff-n ii ii ii ii ii ii ii ii ii ii ■ ii ^^^'^Jf^myfiO^^fe ■«ik» mm^LMM^n^^ Mi( i^i^k '^^B^r mi sridt ^d^. Deir el Gebrawi tr. II 11 II II II II 11 II II II II II II 11 II II II II n l^^^Z-l.Zdio ■ - .. . — FALSE DOOR SeaU ^ TOMB OF ASA-PLAN. Deir el GebrAwi II. TOMB OF ASA, Plate XVI II. Seak I NORTH WALL, E. OF DOORWAY. Oeir el QebrAwi n. FRAGMENTARY INSCRIPTIONS. -rj.i.k-,,. ,fw»ii,E. T).«k««.fM.ti.W. TombSB-N.Watr TOMB 12 (ZAU). >•-■" iy\|^ -j^^^(^- c^^ ?>^^^ (I X X III < Q. o Z lU X IL o CQ o h << ID lU O J UJ Gj O L~ ~ i\ If J ^ \5. 3) O V_k= HI 1 5 -r 1^ '^ c ^ 1 c <^\ -dl ^xJ zl "Zl O ^A )^ -V <4 *. i ^ /. G j^' V >■>; jf^-^- °<^ jft 111 ^ 'i \ ^ o »^» A \ (' c € \y o^c^ cVl ;^ ^"^ ^^J Cvi^HSi f^viE ,,^ ^ i&c 4i§ <^ Cci4. iilp^'ji'^^B^'^il nr, PIWPD^ m^ yj K I- < D O z UJ X IL o O IK ID III a HI Si f) \/\ ^ ^^' iL /;: T^l C::^ 2_ |v^T>Vi c b r M I* c'-^-i u ; --- ^i *•• ^^^\ ^^-^ V^v- )^ He □ "-r^ ; "'-iM.'a . \ CM Deir el QebrAwi II. TOMBS 06 AND 39. CKHETETA.) TOMB 96— PLAN FALSE DOOR i Sealt ^ ELEVATION OF DOORWAY Deir el GebrAwi m. TOMB OF KHETETA. Plate XXVIM. VVEST WALL '< rm.mMjLj[J. T^-t1TtU< - ytv^ti 11 m \\ \ *;•«* 'miv.3.WXi-Ml\^^kf: rxiAf~M~x\i,if.i\ ■*>^ - 1 itzisria r-s^y^^m.»ife . L>lftt1-:»tjti|!L''»&; ' ^Ti'S^Z'trSiXlKi^ iti 1 TO ?^ ite 1^1 f p? 'M%- ■a-t* NORTH WALL INSCRIPTIONS Deir el Gebrawi II. COPTIC GRAFFITI. Plate XXIX. tc nexc -t^nmXJy Mxpix Mn xn\ ncpo'ixnxn pxBpiHA JSYM^pTTOYA] Tjoyx Nee e^r^^ xy/^e attttYcak rr:2Coeiec + Nxq [xnok] xixcDtffe xttoIwcd} Mp^xc^ xnxMON 5: TTeNTxqTco XAAA nNOYTerreivj-rxqxYpo^N^ nxrixn ga>CT6 ^ -^^ noYNXxxi MnecjBeKe kxtx hb' .xno 10. N g,eN(pBpp^a>B pxp NTrejTNOY"T€* NYO olfe NTS HNOYnre [NlTeTNoYKcu-r ntb nNOYTe 2LeKXC eKeeiMe errcopx NNopxxe eNTXYKxeM Kei MCDK N2,HTOYXC|a>a>TT6gNNe2^00Y Ng^pCJDAHC rrppo NfoYAXix NyMMBerTeqpxNrT6;?AXXpfXC 15. (wtLshed out^ Me rrpMasLKocDOY Ycunnhc ( „ ) a;>\t\\ e2LcD'i ri^. ' 3. exNXKOTiNO XYCo^XYCMti cpcurre eBo\ SXpHoy gTmnre 2LeN"TOK xrrxxiNe ne nx^BpiHA coypihx ^^X'^XVAK^^/////////^^^^^ CXpXcf>OYHX TeNMXXY MX pix eToyxCxB rreNeicDjT" xrrx BiKnrcDp xttx coxoMa>[N] xnx oYX[Kixqp XTTX -^]cDpoee xrrx nxMoyN nrxMrro^ s. xrrx2,cDp*iTe4gNOK nxyxe xpi -rxrxnH eYcg^xT XY^^ "fS^ Ne-ro%^cf moy[o]n nim BTtxxff^^^ g^MrreiMx ^ 4 lines washed out* J NeNeip-re enroYXXB xT7Xjc:Te<|>xN6 xnx g^HNixc TTCYpoc ^nx XNii^pexc TTp^f^^lCcl>oY• xrrx xx^xpoc xrrx t^fvlKYiN xttx Tod8>nnmc TrpMnxKe-xrrx 10. ^xnre MNKXxeNiKoc xrrx XMMa>Ne nbcdng (sic^ XTTX TTXTTNOYT-e rrpqcpcoNB MOYCHC s XIXC XTTX TTCpr^NOYTe fviNXTTX gHXIXC rreqCONjXTTX YepHr^ixc xrrx cxNCNxy xnx McDycHc TrpMeioM xnrx coYpoyc xnx ne-rpe xnx Mxpe N-rMOY<^pM<^ xnx 4>oibx i5: Ma)N N-TMOYNxKa)N*xnxncpoY NYepHMtxc xnx nxyWe npMnrxMMX NeNeioT"6 -rHpoy e-T-oy^AB xpi neNMe eye g^NnrMNnrepo NMnHye xpi nxMeey^ Z^ xnok xmmo) [Ne]neN-Txqceg^NxY THpoy NTenNOYT-e kcjd Nxlf obon NNXNOBe gX^^HN : Xpi nXMeey^ g^ xnok {^rcL%^6.^ to. x^eJiJ^^^j^Nl'TenNoy-Te poeic epoY gT^giM nim e-^-NXBcoic ^pxY NgHToy nxY e-rencjDqne neooY <^xeNGg, NSNeg [MNNXia>M] TMpoy gX>^>~>N: -f- 4- xnx MXKxpe XTTX XTTOXXON wc.c. 1 liBiiilliiiiii '"•^ ^ 57 1 if 33 I ^^^^^B 3 1,105 DID r 1 ■ i ik, lUt STANFOKD UNIVERSITY LIBRARIES CECIL H. 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Witl. 81 Plat,-,.. 2m. . RAiinAi,i.-MAclviiB, nnd A. C. I1I-FAY0>i'tOWNS°ASD their PAPYRL For 1899-1900. B, B. P. Gbbsfbu, A. 8. H 1V.-TEBTU5'IS ?Ai'.ra'"""i..,f,U. VoL.mo for DHIO.I ami 1901.3. B, B. P. G««»F«.t. A J. (1. Smvlt. V — THE OXYRHVNCHUS PAPYItl, Pari III. Fi,r 190: 7 l'1:ir,.-B, (U,P,rpo,tll'-m) By n. P. GbM»bi.i. ftiid A. ARCHAEOLOGICAL REPORTS. 8. Host, and HiiKt. Willi (Ynarlj- Siimm a by F. G. Kki ! W. E C»u»i, and the Ollicw of tlie ScK^iety.) Kdited by F. Li., HiuFKtTi From 189293 14. 1901-2. 2-. C-/. ATLAS OF ANCIENT EGYPT. Willi Li>tten"-"*« '""1 ^"t"^- ^'"'"'' *Wition. 3». M. (lUlDK TO TEMPLE OF DEIR EL IIAHARI. With Plan. M. , . , r, w , i »„!(!( i..,l VOriA IHSOY: Sayings of our Lord. Uy B. P. Ghbspicll and A. S. HoM. 2.. {mil. Collotype.), .ml GA n«l. COPTIC OSTRACA, By W. F.. Cbom. lOa. M. iwl. Ofpicb* of tok Eoypt Biplob»tion Fusil : 37. Great RusBell Street, London, W.C. ; . and S), H«ncon Street, Boston, Mum., U 9-A-